Mike G
Sugar Daddy
(SeeThru Broadcasting)
reviewed in issue #203, 8/7/00

What this is, is nice 'n' twisted pop music. Mike G dresses up his one-man band sound (I'm just guessing on that one-man thing; this has that feel) with some cool orchestration (mostly with keyboard, but the guitar helps out there, too).

Mike G kinda mops up within that pop sound, however. He'll rip off a raucous and tasty rocker and then kinda space out. Then he'll get a little intimate, only to blow that away with some truly weird stuff.

All of which makes this disc rather difficult to pull out of the discer. It's not that the stuff is always amazing. But even the occasional clunkers kinda complete the coloring of the disc.

And it all spins by so quickly. Sixteen songs in 31 minutes. Little nuggets of joy or pain or whatever. An utterly infectious disc.

g.o.o.d.
Abeya 2000 CD5
(Syntax)
reviewed in issue #190, 11/1/99

The title track mixes some sort of Asian melody with generic electro beats. The second utilizes more of a classical sound for the melody, once again resorting to techno underpinnings.

The thing is, it doesn't suck. Actually, it's pretty cool. There is something of a kitchy Yanni feel to part of the second track ("A Night in Hands"), but that's amusing, not disturbing. At least to me.

I do with the beats and bass were a bit more interesting. But they can't quite bring this down to a generic level. A close call, but this still resides in the quality pile.

Gabo
Gabolerius
(self-released)
reviewed in issue #132, 4/14/97

More the talents of Rick Dobbelaer than any group (he wrote all the songs, co-produced the proceedings and he (singing and guitar) and Dave Romie (drums) are the only two people to play on every track), Gabo kicks out mostly non-offensive and affected "alt pop" music.

Ranging from the acoustic side of Love and Rockets to Toad the Wet Sprocket to some really nasty lounge moments, Gabo pretty much sticks to "mellow" territory. Many of the guitar lines are very pretty, and the lyrics aren't completely insipid (though I'd like a little more bite).

Dobbelaer obviously knew what he wanted the album to sound like, though, and his biggest accomplishment here is the fine production. This sounds like a major label release, and perhaps that's where my beef lies. I'd like to get a bit more kick.

Still, this is the sort of stuff many folks I know like immensely. I don't, but I won't let that get completely in the way of my judgment. I'm not in favor of the intentions or musical goal, but Gabo does its shtick well.

Gadget
Black Acura 12"
(Function 8)
reviewed in issue #170, 10/26/98

Low key musings in the nexus of electronic and hip hop grooves. Would be right at home on Wordsound, but F8 is on the other coast, and so that's how this goes. Three songs and two remixes. A fair set.

It would be fair to say that Gadget doesn't particularly go anywhere. These songs are about style, about feel, about a certain groove. Conceptual, sure, but still pretty cool. The sound is exquisite, almost three dimensional, with various tracks moving from back to front almost at will.

Innovation? Nah. But some smokin' sounds, nonetheless. Just let them settle for a while.

F8, of course, is a 12"-only enterprise. This slab of vinyl works both at 45 and 33 (man, I know artists hate to hear that). It is 33, but sped up, it makes for some cool, speedy dance stuff. Slowed down to where you're supposed to be, and it morphs into a cool hip-hop groove with odds and ends abounding.

Gadget, of course, has already proven its worth in this arena with a fine F8 12" of its own. This one is a bit more funky, down with the lo-fi grooves (the Slotek boys would most pleased). Does it go anywhere? I'm not sure. But I like where it is.

I'm glad this particular audio form is being kept alive, and with such fine tuneage, it should be around for a while longer. Anyone fancying the mellower sides of the electronic revolution would be met well here.

The Gadjits
Today Is My Day
(Thick)
reviewed in issue #226, February 2002

The Delta 72 finally refined its own soulful rock and roll with its last album. The Gadjits get it right.

Think late 60s. Complete with Hammond and Rhodes organs and wailing backup vocals. All done with the tempos pushed and the energy pinning the levels. Just enough distortion to get the point across.

Joy. In a word. Brandon and Zach Philips lead the Gadjits and write all the songs. They have a real feel for this material. There is no wasted motion in any part of these pieces. Rather, the stuff is wound up tighter than the cables supporting the Golden Gate bridge. And it hums.

You might think that this sound would call for a loosey-goosey feel. I've never heard it done well that way. The Gadjits infuse plenty of emotion into these finely-crafted songs, but the band never drops its eyes from the prize. Good music, after all, is hard work. And here, the work paid off.

The Gagan Bros. Band
Happy Time
(self-released)
reviewed in issue #156, 4/6/98

Tim Gagan was in Bichos, and now he's got this band with his brother Joe. Plenty of friends (and a couple family members, to boot) help out. The sound is somewhere along the blues, funk, and jam continuums. Sometimes this works, but much of the time the stuff sounds forced.

The best tracks are the straightforward blues rockers, crafted with soulful lyrics and great musical lines. When the band tries to get a little fancy and whips out a bit too much of that half-assed syncopation groove that's so popular these days, I'm not so nearly impressed. I know, hippie funk is all the rage, but I still think it sounds cheap.

Obviously, these guys have a lot of fun playing the music, and that carries over into the music. Even when the stuff doesn't work, I can hear the joy emanating from the band. Something that big money music rarely provides.

Uneven, but always entertaining. I'd suggest the band stick more to the basic sound, but that's mostly a personal bias. This disc has a great earthy feel, and it is a blast to hear. Wish everyone enjoyed themselves this much when they played.

Tim Gagan told me I'd like this one a lot. Man, am I that obvious? I guess so, because this live set really does work for me. The Gagan Bros. kick it along a straight and narrow blues line, something they're awfully good at doing.

Mostly original tunes, with covers of tunes by Willie Dixon, Joe Satriani, John Fogerty and others tossed in to the mix. The Gagans' writing is completmented by such tunes, and all of the songs mesh together quite well.

Sometimes bands can get a little lost in the studio. When you play live, you've got an instant audience, and that can be a mixed blessing. Some folks will pander for applause, while others are able to get a more nuanced reaction, playing what really works for folks. The Gagans are in that second category.

One thing I've never questioned with these folks is the playing. That has always been excellent. I've more questioned the material, but on this set, there's no need. Solid from beginning to end, there's no question this is a great live band.

See also Bichos.

Gainer
You Say It Like It's a Bad thing
(Bent Rail Foundation)
reviewed in issue #251, March 2004

Combining the strident, insistent riffage of "old" emo (you know, back before it became pop punk) with the caffeine-inspired manic rhythms of ALL or Descendents (take your pick), Gainer thrashes out 10 altogether lovely songs.

This stuff is very simple, and these boys play by only one rule: Keep the energy levels pegged to 11. Even when the tempos drop a hair, the intensity remains. Gainer simply refuses to get out of your face.

Which is one of the nicer things I've every said about a band, I think. The sound of this album is fine--a little ragged on the edges but razor sharp in the rhythm section. I'm sure that's one of the things that keeps this album so focused and bright.

A fine little adrenaline wire. That Gainer actually knows how to write solid songs with well-considered lyrics is simply another plus. This one's the real deal.

Diamanda Galas
Schrel X
(Mute)
reviewed in issue #122, 11/4/96

You get a live treatment, and then a made-for-radio version. All of Diamanda Galas generally screaming or making rather amazing guttural noises. There are some lyrics that make some sort of statement, but I've never been a fan of interpreting performance art.

On the other hand, I love listening to whatever it is she is doing at the time. Even while screeching her head off (perhaps particularly while screeching her head off), Galas is able to convey a range of ideas and emotions that makes most anything else seem transparently fake.

And like most of her recordings, Schrel X is a testimony to her astonishing vocal chords. I try to imitate the sounds, and my throat goes dry and constricts after about 10 seconds. And I didn't come anywhere close.

The usual, which with Galas is anything but. Stunning as always, as uncompromising as any of her most strident works. Wonderful in a really sick way.

Mark Gallo & the Witness
Mark Gallo & the Witness EP
(self-released)
reviewed in issue #230, June 2002

I was listening to the Chills the other day. I don't do that a lot, but every time I do I kinda think to myself, "Why don't you do this more often?" Mark Gallo & the Witness does the same thing to me.

Anthemic pop driven by acoustic guitar (more like the Church than Robyn Hitchcock, if you're following my references). The choruses soar, the melodies flow and the mood is never broken.

Only three songs here, but man are they good. Gallo and company sure know how to write this kind of song. There's not a lot of variation, but boy, this sure hits the spot. Scratched my itch, to be sure.

Frank Gambale
Stuart Hamm
Steve Smith
Show Me What You Can Do
(Tone Center-Shrapnel)
reviewed in issue #165, 8/17/98

The interplay between Stuart Hamm (bass) and Steve Smith (drums) is impressive. Frank Gambale has an adventurous sense to his guitar playing, but there are times when he doesn't quite compliment his rhythm section properly.

And that's really the story here. Hamm and Smith have an uncanny knack for creating some wild rhythm combinations, and Gambale often tries to counter that with unusual sounds. Sometimes it works, sometimes not. What Gambale doesn't have is the soulful connection to the beat work, and his playing often sounds like it was just laid on top.

There are times, though, when it all comes together. Usually a small snippet of a whole song, a point where the playing is fast and detailed. Gambale is able to infuse his speed runs with some feeling, and that's just enough to tie it all together. For a few seconds.

A good prog-fusion trio set, but one that really didn't quite come together all the way. A lot of nice playing, but I wanted more.

Gameface
What's Up Bro? split EP with Errortype:11
(Revelation)
reviewed in issue #197, 3/27/00

A very appropriate pairing. Both bands are on the melodic side of emo (or what used to be known as the raucous side of power pop). Both bands can find a tasty hook and make it stick. And each takes three shots at that ideal here.

Boy, and do they. Gameface leads off, and its relatively understated style sets up the disc well. The songs are thoughtful and tuneful, in that nicely raggedy sorta way. Cool stuff.

Then Errortype:11 takes over, shifting the music into overdrive. It's the same, really, just more. More speed, more distortion, more oomph! All in the best ways, of course.

Six really great songs. These bands have never been in better form, and that says something right there. Most worthy of mass perusal.

Finally, more stuff from these boys. I really dug the split they did with Errortype:11 earlier this year, and now there's more goodies. Power pop punk with muscular hooks and nicely marbled riffs.

Reminds me more than a bit of Judge Nothing, a great band from a few years back. Gameface is heavier. In fact, I'm amazed that these boys can create such catchy songs with this sound. So thick and yet so addictive.

When I get into a disc like this, I tend to bliss out rather than pay attention for the review. Sometimes (okay, most of the time), I love this job. And it's stuff like this that keeps me going. Heavy-duty pop, written with just enough wiggle room to lend a loose feel to the tightly-turned tuneage.

Um, sometimes people do just about everything right. Take Gameface. I haven't heard a bad song from these boys yet. This is like shooting crack straight into your heart. Trust me. Uncontrollable joy is unavoidable.

Gamma Ray
Insanity and Genius
(Noise-Futurist)
reviewed in issue #45, 11/30/93

Okay, this is what you might call my guilty pleasure. I loved the first Gamma Ray album, as I had been a fairly serious Helloween fan (at least in the early days). The second was merely mediocre, and I despaired.

A lot of what that second album missed was the combination of speed and melody. It was slower and a little cheesy. Well, this may be a little on the Velveeta side, but the speed is back and I'm climbing on for the ride.

Judging by the state of the liners (horrible layout, you can't even read them) and the general timing of this release, it seems this disc is being dumped out with no hope of success.

It doesn't have to be that way. I know a lot of you have a penchant for mid-eighties euro-metal (i.e. Maiden, Judas Priest, etc.) when it was good. This keeps that tradition alive and smoking. I would love to see a tour with these guys and Iced Earth. Wouldn't that be great?

Gapeseed
Project 64
(Silver Girl)
reviewed in issue #131, 3/31/97

Fine noise pop, and unlike the Baboon reviewed earlier, this stuff was given the proper lo-fi treatment. Gapeseed likes to crank up the speed wagons as much as the next band, and the results are some giddily crashing tunes.

And sometimes just crashes. This is high-risk music making territory, and Gapeseed does better than many. But on songs like the lead track "His Is the Acetate Scepter" (an inexplicable intro to the band, in my book), the proceedings often simply halt, leaving me to survey the damage.

Much nicer is stuff like "Distance", which has just enough inertia to keep the ball of confusion rolling. Gapeseed refuses to play in the same sandbox, and the small breaks in the pandemonium are nice.

Meticulous chaos. I can hear the work and pain, and the final results are often very good. Skip the first track, and you'll be that much more impressed. There's some serious talent rolling around here.

The Gapeseed track is titled "Raise the Calculus Lude". It's much less produced than the album I just reviewed, though the basic elements of the band are still evident. This puppy is quite messy, but a lot of fun within the chaos. A worthy song, by all accounts

Gerling is Australian, and the note with this says that Stillwater is trying to release a bunch of split 7"s with U.S. and Aussie bands combining. And interesting idea, indeed.

The Gerling track, "Mother Mary", is much more mainstream-sounding. Still in the same basic area, but with more of an emphasis on structure. The noise comes more from the way the instruments are (or aren't) played). A real wall-of-sound here; the song starts off with a bass riff, and the attack doesn't cease until the end.

A cool, adventurous 7". This is exactly what small vinyl was invented to propagate.

Garageland
Do What You Want
(Foodchain)
reviewed in issue #210, 1/8/01

Contemplative mid-tempo pop music that still manages to pack a few punches. Garageland has that "serious band" sound (like these guys know they're making a point here and there), but there's nothing dreadfully overbearing going on.

And then, once in a while, the songs burst into joyful noise. The sound is still rather controlled (there isn't a whole lot of spontaneous playing going on), but that attention to detail provides pleasures other than the visceral.

Of course, I'm talking about a more intellectual appreciation. Garageland's arrangements give its songs a deep focus, with plenty of small points to latch on to at any give moment.

And, of course, the more calculated approach can also bring some real polished gems. Garageland knows its craft. These songs are well-written and tightly produced. But the result doesn't sound artificial. Just planned. And that's not a bad thing here. One final note: Foodchain is selling this disc at a highly discounted price (until January 30) on its web site (http://www.foodchainrecords.com), so if you're intrigued, take a chance.

Garbo Swag
Garbo Swag EP
(self-released)
released in issue #160, 6/1/98

A lot a lot a pop culture references tossed into a fuzz-guitar rock act. Well, the fuzz is a sometimes thing. Wouldn't you know.

Actually, Garbo Swag has recorded five songs which have very little in common musically. If you don't like one song, try another. "Aurora" has a slight funk feel, Bottle Blonde is, oddly, a dirge-like piece. "Love?" is an uptempo acoustic guitar bit, "Nacho Girl" has some faux-south of the border references (with some light ska) and "Rising Sun" sounds like a shortened version of "Children of the Sun" as played by Hootie and the Blowfish (Yow!).

Completely incoherent, when taken as a group. The songs themselves hold together well enough, though, and they lyrics are uniformly strong, if a bit smarmy in spots. I really have no idea what Garbo Swag is all about, though obviously the guys can craft a number of different sounds pretty well.

Still, there's no soul. This is ace craftsmanship without anything below decks. I want to know what makes Garbo Swag groove. And that can't be heard here.

Garden of Dreams
Sleeping Stars CD3
(self-released)
reviewed in issue #226, February 2002

Three pieces of grandiose goth rock candy. Painted up very prettily, of course. These songs shimmer and throb. Takes me back to the late 80s. Which, I figure, is somewhat the intent.

There's nothing particularly original about these songs, but Garden of Dreams has arranged and played them so well that they impress me nonetheless. Few bands are able to play this kinda stuff without sounding overly morose or chipper. These songs ride the line very well.

Knocked me out, I must say. Three songs aren't enough to fully judge the band, but based on what I hear here, Garden of Dreams is more than worth hearing quite a bit more of, as soon as possible.

Garden Variety
Knocking the Skill Level
(Headhunter-Cargo)
reviewed in issue #90, 10/23/95

Well, this is the typical Headhunter album: wall-of-noise punk-styled rock, with cool riffs, insightful lyrics and an overall exciting feel.

And, of course, Garden Variety has managed to carve itself a niche in this rather tight field. More distorted and less accessible than many Headhunter bands, Garden Variety really piles on the noise at times, even while sticking to basic pop conventions. A nice trick, that.

And the head keeps bobbing along. Yeah, it may be cliche by now, but Headhunter keeps finding some of the coolest rock bands out there. Garden Variety may not yet be one of the best bands around, but you never know. An album like this shows definite potential.

Garden Variety
Chune
split 7"
(Cargo)
reviewed in issue #77, 5/31/95

This 7" features two pop bands. Pop in the barest sense, of course.

Chune drops "Duel Rectums" into the party, and it's a pretty noisy tuns about the nastiness of teenage pregnancy. Or something like that. By the end of the song everything is nicely incoherent.

"Stickler" comes from Garden Variety, and while it does follow some sort of regular song construction, it's still nicely vicious. Compare to Rocket FTC, Gnome or many other great, noisy, pop acts.

Gardener
New Dawning Time
(Sub Pop)
reviewed in issue #177, 2/22/99

Aaron Stauffer of Seaweed and Van Conner of Screaming Trees (yes, it's another incestuous side project). With lots of friends (including most of the rest of Seaweed) at one point or another. Very Stonsey, a la Their Satanic Majesty's Request. Heavy in the reverb, loosely-held hooks, sloppily-jangled riffs.

And thus, the heavy enjoyment factor. These songs sound like they were tossed off in rapid-fire fashion. But on repeat listens, it's obvious a lot work went into making this "casual" album. Not surprising, given the folks involved.

Perhaps the best part is the messy studio sound, a melange of lo-fi effects and inartfully recorded instruments. Perhaps I should correct that. Intentionally inartfully-recorded instruments. Thus, by definition, artful.

Sounds like a throwaway, but this one's a keeper. Gotta love those contradictions. Keeps the whole fresh. Just what a side project is supposed to be.

Gardy-Loo featuring El Duce
Perverts on Parade
(Off the Records)
reviewed in issue #153, 2/23/98

Perhaps the final musical legacy of El Duce (Eldon Hoke), who is best known as the lead singer for the Mentors. He died about a year ago, most likely from overconsumption of alcohol and drugs. A misogynistic misanthrope, El Duce's recorded record is full of patently offensive songs. The only reason he did not quite achieve the fame, as it were, of G.G. Allin is because he didn't eat his shit on stage every night. On occasion, perhaps, but not every night.

Gardy-Loo is a Tampa metal band, in the sorta Euro-glam style. The band acquired a bit of a hardcore bent to more properly back up El Duce, but you can still hear some Crimson Glory back there.

These songs are not the most extreme I've heard out of El Duce, but they are among the best in terms of the production. This album sounds good. Top-notch sound, whether I really wanted it or not.

Take offense if you like. I happen to think songs like "Senior Citizen Sodomizer" and "Citoctomy" are so beyond the pale, they're hilarious. You make your own call. Not for the weak of heart, or anyone who professes to be a "normal" member of society. Luckily, there are plenty of us perverts out there. A worthy tribute, which should really frighten all those soccer moms out there.

See also El Duce.

Greg Garing
Alone
(Paladin-Revolution/WB)
reviewed in issue #140, 8/4/97

The press notes bandy about some pretty serious comparisons, with one caveat: Greg Garing sounds like nothing else on earth.

Alright, I must admit I've never heard something like this from a major label. And it is kinda cool to hear a nice standard-style country ballad like "Safe Within Your Arms" meshed with a cool, trip-hop beat style.

That's the main appeal here, pop-country music merged with one edge of the electronica style. It is pretty cool. There are Beck-like moments, though Garing seems to like his country leanings and doesn't rip on the music in a self-referencing style. And it is nice to hear a little bluegrass and honky-tonk stuff mixed in with the new.

Only one bummer: this puppy cost a nice bit to make, and the slick sound is just a bit much. I would have preferred a bit more of a mess, leaving the old-style sounds sounding that way to create a better contrast with the modern rhythm tracks. Still, for a first effort, this one's pretty strong.

Terry Garland
Trouble in My Mind
(Planetary)
reviewed in issue #210, 1/8/01

Terry Garland plays the blues the way it started: With a guitar on his knee. When needed, Mark Wenner (of the Nighthawks) throws in his glorious harp blowing. But even such a wondrous sound as that is window dressing next to Garland's playing and wailing.

Garland sticks mostly to the classics. Indeed, many of these songs will be recognizable to even the most passing of blues fans. But instead of trying to outdo the originals with bombast, Garland instead offers stark, spartan arrangements.

And this simple approach helps to show why these songs are, indeed, classics. They don't need bombastic arrangements or shiny production jobs. They speak for themselves. as do the two Garland originals, which fit right in with the rest.

One of the best expressions of the blues I've heard in a long time. Garland has a terrific feel for the songs, and he puts everything he's got into his playing. This is a most impressive disc.

Terry Garland's latest album. He's still playing the blues the way they were invented, on an acoustic guitar. Mark Wenner (of the Nighthawks) is also back blowing his harp, and Garland has a few other friends stop by from time to time.

The quality remains top-notch. Garland mixes in a few of his own compositions with classics (including "Stagger Lee," "Rollin' and Tumblin'" and "Nasty Boogie Woogie"), and once again his own songs measure up nicely.

Still and all, the star here is Garland's singing and guitar playing. He knows how to perform these songs, putting his own stamp on the standards. This isn't just a rehash; Garland gives the pieces a fresh breath or two.

Like the last album I heard, this one impresses greatly. If you think that the acoustic, rural blues just don't have the power of their city cousin, well, let Garland show you otherwise. He's got more than enough ammo to make his case.

Terry Garland's vision of the blues is demanding. He's partial to the rural Delta blues, and on this album he sticks pretty much to himself and his guitar, using his foot to pound out the beats. He gets help from his usual set of friends, including the incomparable Mark Wenner on harp and a host of horn players.

As usual, the results are impressive. Whether he's howling or moaning, Garland achieves exactly the feel he desires. He's completely plugged into the spirit of the blues.

There are fewer originals on this set (merely half) than on previous albums of his I've heard, but as before, Garland's own compositions fit right in with the Muddy Waters, Johnny Winter and other classic tracks he's chosen to revive. It's impossible to tell them apart--except that you probably know the old songs.

Ah, but that's the job of an artist: To reinterpret the classics and make them relevant for today. Garland does so with reverence and skill. He knows exactly where to find the blues.

Terry Garland is a fine blues guitarist. He's equally comfortable with acoustic and electric, and most of his songs feature both. This is his first "all-original" album, and he plays it cool. There's a fair amount of piano and the odd special guest (among them harp virtuoso Mark Wenner), but this album, like all his others, rises on the strength of Garland's playing. And, like all the others, this one rises real high.

Garlands
Just the Verses 7"
(self-released)
reviewed in issue #136, 6/9/97

Dreamy pop, tres Smiths and Echo and the Bunnymen. I haven't heard anything like this in quite a while. That is always a good thing.

The liners list out a catalog for the band, referring to this single as "nice". While that isn't the most descriptive bit possible, it fits. The Garlands aren't out to rock the masses, but the songs have something to say and the music complements the lyric ideas well.

The guitars are perhaps the most impressive feature, moving endlessly and yet not overpowering the proceedings. Garlands knows exactly what it wants to sound like, and the band members have obviously toiled long and hard to get here. Quite impressive.

Intense, mellow (in terms of decibel level; perhaps that isn't the right term) pop stuff. As with the seven-inch, I can detect a huge Smiths influence. Without the whining. Just the cool, shimmery guitar work and elliptic lyric ethic.

Six songs are better than two, and Garlands are easily able to maintain over the distance. Obviously, there is something of a retro feel to the stuff, but without being overly derivative. Kinda like the Potatomen, Garlands twist that early-80s Britpop sound (the stuff that wasn't particularly new wave) into something familiar yet different.

Even more so than the seven-inch, the sound on this puppy is great. The languid pacing of the songs is sharpened by the production, which keeps all of the instruments placed in the proper place. Everyone gets to say their piece without getting in the way of the others. It is actually harder to do that with this sort of music, and I'm impressed.

Well done, again. I simply get more impressed the more I hear from Garlands. Someone had better start paying attention, and soon.

Garlands prefer to consider their music to be a direct descendent of the Velvet Underground. There's certainly a wee bit of VU in here, but I've always heard a more direct connection to the dreamy side of the Smiths. There's something about the guitar work that just screams Johnny Marr to me. And that's not bad at all.

However you slice it, I'm guessing you've got a good handle on the sound. The next question is quality, and Garlands have never disappointed in the writing department. These songs are gorgeous, shimmering works that trip along the edges of the brain. It's pretty difficult to make such soft rock insistently appealing, but Garlands manage nonetheless.

Maybe it's in the rich texture of the sound. The production is quite good, lending a plush depth to the music that reverberates over and over until it becomes hypnotic. Easy to fall into and very difficult to leave.

As the disc rolls on, I'm hearing more and more Lou Reed in the lead work. Maybe the folks know more about their music than I do. That's cool. The simple truth of the matter is that Garlands is a 21st century band, no matter its influences. This is music that speaks to today.

Garnet's Maggot
Garnet's Maggot
(demo)
reviewed in issue #55, 5/31/94

Four good songs, kinda muddy production. Wallowing ever so slightly in the grunge universe, GM manages to convey its own identity through the gauzy sound.

A direct contrast to Charlotte's Webb; these folks aren't the greatest technicians, but they do know how to write good songs in their own voice. Very nice.

Tim Garrigan
To Be & Not to Be
(Nihilist)
reviewed in issue #184, 7/5/99

The note from the kind folks at Nihilist read "Tim Garrigan was in You Fantastic and Dazzling Killmen, so, you know..." And I thought I did. I expected something powerful, astonishing and ultimately haunting. That this is. But on an entirely different side of the sanity fence.

Kinda like if Roky Erickson knew how to play with the toys in a studio. Garrigan and pals rip off huge chunks of music, sometimes coherently and sometimes not. Garrigan messes with just about every piece of the recording though, twisting vocals or guitars or drums or samples or whathaveyou into a form which he, apparently, likes.

There is something pure about a recording like this. It's like the artist has utterly bared his soul. The pieces are so raw, so streamofconsciousness that nothing stands between them and the ears of the listener. While I'm sure many of these sounds required some serious effort, the music sounds almost untouched. Pristine. Bizarre, certainly, but still clear.

Alright, here goes. Garrigan was in You Fantastic and Dazzling Killmen, so, you know. That works about as well as all my drivel. Because even after hearing this, I can hardly say "I know." Words fail at times like this.

Garrison
A Mile in Cold Water
(Revelation)
reviewed in issue #199, 5/8/00

Taking its guitar cues from emo, Garrison strikes out on a unique path. The songs are intricately-constructed anthems, almost like slo-mo power pop. Like I said, I haven't heard any band with a sound quite like this.

This is driving me nuts. I'm having a horrible time finding things to say about an album that I'm liking more with each song. It's strange, though. I'm finding it easier to say what Garrison isn't than what it is. Let's try again, okay?

The guitars are emo, both in the way they're played and the lines they follow. The bass and drums sound like they're playing pop songs, though definitely at a mid tempo. Each song tends to rise to an anthemic climax before receding.

But that doesn't quite explain how unusual Garrison sounds. I'm just not getting what I want to say across. Somehow the band manages to take some standard pieces and fashion them into something altogether different and surprising. Not quite emo, not quite pop and yet still strange. I dunno. I dug it. That'll have to suffice.

I wasn't quite sure what to make of Garrison's first album. I mean, is this stuff hardcore? Emo? Pop? Well, after listening to the new disc, I can tell you that the answer is yes.

Much like the Shades Apart's recent album (and to a lesser extent, Jimmyeatworld's as well), Garrison uses all of the skills and sounds at its disposal to create crunchy, tuneful anthems. The kinda stuff that's hard to dislike.

And I'm not just saying that. There are plenty of reasons why those who are a bit more doctrinaire than me would find reasons to pick this disc apart. Chief among the complaints would be some sort of "sell out" claim. Hey, just because I band records a sharp album and decides that it likes melody doesn't mean it's giving in to the man. Freedom of choice, man.

Sorry. Had to get that out. Garrison doesn't need a hack like me to apologize for its music. The stuff stands just fine on its own.

Billy Garzone
Billy Garzone
(self-released)
reviewed in issue #175, 1/25/99

Bright, acoustic guitar-flavored pop. Basic constructions, though admirably played. Garzone, a teacher at the American School of Music, has all the playing skills necessary. His somewhat thin voice isn't the best for this sound, but what he really needs is a dose of inspiration.

Or something. The songwriting is technically acceptable, but not particularly interesting. All the proper chords fall where you might expect, and even dissonant moments follow accepted theory. Rocking by numbers is great if you're in a cover band (which Garzone is), but it doesn't lend itself nearly as well to rock songwriting, which requires something unexpected, something spontaneous to really grab attention.

And I'll once again note that playing in a cover band is a great way to improve your chops (almost every decent musician has done an apprenticeship in at least once such outfit), but songs need to be played live a number of times to figure out what works. There are bits and pieces in each song which are good, but they are simply thrown together with a number of technically correct, but emotionally unsatisfying sequences.

Like I said, Garzone can play guitar. He's got a nice, easy feel, which is something those with technical prowess cannot always achieve. If he could only translate that achievement to his writing, he'd have something great.

Gas Huffer
One-Inch Masters
(Epitaph)
reviewed in issue #68, 1/15/95

Pacific Northwest boys who have obviously grown up on Nomeansno and D.O.A. Gas Huffer takes those influences and cranks a pop sensibility into them (the bass is still overbearing, but the guitars make for a nice lead break now and again).

And unlike most punk bands, politics take a back seat with Gas Huffer. Most of these tunes seems to be commenting on the absurdity of life's realities. Hell, you have to laugh at things, or you'll go insane. Of course, these boys may have dropped over the edge a little while back.

The real surprise is the diversity of sound. Some songs are straightforward punk blasters, while others take on a loopy linear sound (somewhere between Nomeansno and Treepeople). Outstanding musicianship carries these efforts, because you have to make the lines make sense.

I'm left a little empty at the end. I guess I need more tunes. That's what the repeat button is for.

Even the crack Canadian mounties couldn't keep that fat Vancouver bass from migrating south, and Seattle boys Gas Huffer keep that sound alive and rolling.

Yeah, something like D.O.A. meets the Ramones (wait, isn't that the Hanson Brothers?), with odd twists and turns that only Gas Huffer could provide. Crude punkish music can only take you so far, and Gas Huffer shows what it takes to go forward.

Dashes of sixties surf 'n' turf and a truly wacky sense of reality, for starters. You see, the main point here is fun. None of that silly "I'll kick your ass" shit. Gas Huffer wants to leave you with a smile on your face. And unless you have Alan Keyes's sense of humor, your grim will be coast-to-coast.

Simple, to the point, silly as hell. Any complaints? Don't tell me.

The same elements as the Doormats album reviewed in this issue, but more. A heavier reliance on the pop structure of the Ramones and even more emphasis on the throbbing bass and breakneck drumming. More, more, more.

Plus, Gas Huffer is much more about humor (someone out funny-ing a McRackin? Geez). A ton of songs (16 in all), a bramble of wacky amusement. And while the basics remain the same, the songs cycle through a surprisingly wide variety of sounds. Creativity, damnit!

A punk cavalcade that simply keeps on rolling. Gas Huffer has a modest aim, merely to entertain. As always, success. And even more.

Whenever I start to get down about the future of punk music after listening to too many listless pangs of angst, something like this comes along to reaffirm my faith. Gas Huffer doesn't take anyone terribly seriously, and that's why this stuff is so good. A refreshing taste.

See also Pulley.

Gastr del Soul
Crookt, Crackt, or Fly
(Drag City-Touch and Go)
reviewed in issue #51, 3/31/94

The name is a tip-off: weird shit ahead. And so it is.

Pleasantly self-absorbed guitar licks (reminding me a bit of Marc Ribot) along with some odd snippets of lyrics. This is not the sort of think you'll be hearing Casey count down next week.

But does it work? Most people won't get it. I sure don't. But I have this nasty problem of liking very strange music people doing things that no one else will (or wants to). And this does qualify there.

What can I say? I love it.

Jim O'Rourke and David Grubbs back at the ready, with plenty of weird friends on hand to help out. Maybe that's causing this persistent erection.

Well, it can't be that silly trailer for the latest Alec Baldwin flop that's all over the Stanley Cup playoffs. Anyway, if you don't know what Gastr Del Sol is, then just get out of the way. This is completely inexplicable, and tends to frighten away all but small children and insane adults.

Being the journalist sorts, my wife and I had a party election night 1994. A bad night. But I had Gastr Del Sol's Crookt, Crackt, or Fly in the discer, and it pushed a couple people over the edge. That and my taunting folks about liking Texas (but that's a whole different issue).

The first track is a strangely orchestral piece (which would be why it's titled "Our Exquisite Replica of 'Eternity' "). The rest are more representative piano and guitar noodlings (with the requisite guest appearances and strange production effects).

This music scares people. It makes their skin crawl and their minds itch. We're thinking of using it on a local member of the God Squad. But not before full enjoyment is achieved by ourselves. If you have any interest in the experimental side of music, then this is the place to be. Perfectly astounding.

David Grubb and Jim O'Rourke return, with Markus Popp contributing vocals on a few songs. Not singing, really, but some spoken word stuff over the usual Gastr del Sol fare.

Unusual is one way to look at it. No Gastr del Sol album sounds much like any other, and so on this one Grubb and O'Rourke add not only vocals, but horns, strings and a clarinet where they feel necessary. The result is as disconcerting and wonderful as ever.

Probably more disturbing than usual, because the horns generally play normal lines, while the rest of the music is just that much off-kilter. The sort of music my grandma might like, except that it's just a little bit weird. Not a lot, and that's the key. The slight deviation from what's expected produces a chill that's hard to shake. It becomes all too clear that this music was not produced by regular human beings. Makes you believe in aliens.

Well, maybe that's overstating the case. It is true, though, that this is another fine Gastr del Sol outing, and while it shares the spirit of its predecessors, it doesn't worry too much about following in the earlier discs's musical footsteps. Hey, I'll always be here to listen.

See also Brise-Glace, Dazzling Killmen, Jim O'Rourke, The Red Krayola and Yona-Kit.

The Gathering
Mandylion
(Century Media)
reviewed in issue #85, 9/11/95

Lush, almost romantic metal. And it's refreshing to hear a female vocalist who is not trying to sing like a man or like someone else.

Anneke van Giersbergen has just the right touch for this sweeping, melodic attack. The rest of the musicians know just how to keep the songs flowing in all the right ways. A real nice job of song crafting.
I've been hearing snippets of things about the Gathering for some time now, and it is good to know that all those folks who were raving were not mad. Indeed, this is a fine band and a fine album. Listen and be completely enchanted.

Gatlin
Forget Forever
(self-released)
reviewed in issue #208, 11/20/00

Maybe you remember 1991. Anthrax released Persistence of Time and Queensryche released Empire within a couple weeks of each other. While those two albums appealed to wildly different fan bases, those of us programming college metal radio (all 100 of us or so) couldn't really decide which was better. They were both great.

I started off in the Queensryche camp, but soon I switched to Persistence. Gatlin sounds like it made the same decision. It plays a fairly technical form of metal, but with more of an Anthrax crunchiness. The songs are melodic, but powerful as well. Indeed, perhaps the best reference is Armored Saint (which is kinda where Anthrax has ended up, though in a lesser form).

And, honestly, it's pretty easy to hear plenty of references from a number of late 80s metal bands (mostly American bands who fell under the influence of Eurometal, if that makes sense). The production is sharp, befitting the high precision of the playing. The songs ring out nicely.

The commercial potential of this sound is negligible. Gatlin seems to recognize this and tries to tap into the rap/metal fusion on "Never Mind" with less than impressive results. But when the boys stick to their guns, the songs really click. No one may buy this, but Gatlin's got some great guns.

Gawk
Iron Mushroom
(Wagon Train-Ment Media Group)
reviewed in issue #129, 3/3/97

The title says it all. Gawk takes a sludgy approach to a trippy industrial sound. This is certainly some sort of alternate-reality world.

A real mess, and not always in a good way. There's too much sloppiness, even for what I think the band is trying to do. The songs are not well-organized, which isn't a crime in and of itself, but in general there isn't much to keep the wildly disparate musical idea from simply flying apart.

The hardcore approach to free jazz, I suppose. And hell, there are some truly inspired moments (the middle portion of "AADG", for example), but not enough to counterbalance the overall poor execution. This is on the high side of good, mostly for the attempts at the unusual.

All cred for that. But for all it's trying, Gawk doesn't quite manage to pull off the big score.

The Gay
You Know the Rules
(Mint)
reviewed in issue #247, November 2003

Much like Young and Sexy (reviewed later in this issue), I've never quite gotten into the Gay. Which is odd, because I've often felt this sort of psychic connection to the folks at Mint. They seem to like the same sorta off-kilter pop that I do. I just found the earlier Gay stuff to be a bit too mannered for my taste. Good, mind you, but just off my radar.

Not so here. Maybe I've matured; maybe the band has subtly altered its attention to craft. You've got me. But I like this album. There's enough sweetness in the hooks to offset some of the excess structure.

What mean by that is that the Gay pays very close attention to what it is playing. These aren't simple three-chord songs. There's a definite Bacharachian affectation to the melodies. Sometimes notes are added for very little discernible reason. When that works, it's kitschy. It's cool. On this album, it's cool most of the time.

The Gay is the sort of band that college music geeks love. I always sneered at this stuff back when I was in school some (gasp) 15 years ago, but it's grown on me since. Whatever the reason, and for whatever it's worth, I like this album. These folks sure have studied their music theory, and they make it sound quite fun.

Philip Gayle
Solo Live '98
(Yabyum Productions)
reviewed in issue #229, May 2002

Philip Gayle plays mandolin, guitar and "modified 3-string toy guitar" on this set, which was recorded in various locations in the second half of 1998. That, I'm afraid, is the best overall description of the music I can give.

On the other hand, I can describe a few more specific pieces. Gayle tends to shift from one instrument to another, leaving the first to continue vibrating while he picks at the second (or third) implement. The songs aren't particularly coherent, but they do make sense on the whole.

I liked to dive into the sounds, to hear exactly what was lying beneath the grate of the picking. Even the vinyl strings of the toy guitar would continue vibrating for a second or two after being plucked, and that aftermath is just so cool.

Yeah, on one level this is the sound of a guy making noise. But the noise has a purpose, or at least, my ears invented a purpose for the noise. Gayle has a real knack for making the utterly experimental and "out there" sound just a wee bit inviting. Take a chance, if you dare.

Another set of intriguing improvisations from Gayle, this time with pal Cholakian along to wander through a pile of percussion. Out there, but replete with great moments of inspired sonic mayhem.

Gaza Strippers
1000 Watt Confessions
(Lookout)
reviewed in issue #207, 10/30/00

Punkers posing as a bar band. Following in the fine tradition of the New Bomb Turks and others who went before, Gaza Strippers bash about giddily, not bothering to do something silly like "get serious."

Nope. Just a full-throttle, full-throated attack. Guitars on top, tuneful hollers in the middle and a churning rhythm section. The sorta sound that translates best live. These songs are made for the stage.

And when the volume is just right (somewhere between "pain" and "deafness"), that live feel can be appreciated in the comfort of your own home. I've gotta admit, the louder I cranked the stereo, the better this stuff got. Subtlety isn't on the menu.

But a crash course in fun sure is. Gaza Strippers knows how to deal the volume. The riffage is in full bloom, and the bees are buzzing all over the place. My blood is on fire.

The Gazillions
Have Landed
(self-released)
reviewed in issue #200, 6/5/00

Some real nice rawkin' riffage, at least until the vocals show up and start singing about things like "cruel, damn hobbit love". The guys have a pretty good handle on a number of sounds, from rockabilly to white-boy funk (you know, NRBQ), but most of that is tasted in the intros. Once the songs truly begin, they simply degenerate into jokey vocals that are sung most earnestly.

So does that make this stuff a joke, or what? I honestly can't tell. The music is solid enough, and the vocals are definitely delivered earnestly. It's just so durned kooky.

My main beef is that the band seems to be able to find a nice groove, and then the singing changes all of that. Grinding the gears or something. The songwriting could use a bit more craft.

That probably would easy my discomfort with the lyrics. I mean, if the vocals fit with the music, then they can be singing just about anything. Even if it is hobbit love or Scrabble or whatever.

Gazz
Gazz
(Razzberry Records)
reviewed in issue #219, 7/16/01

Loud, thick chords and sloughed off vocals. A lot of power, and not quite enough honey. If that's what Gazz is going after, anyway.

I'm not so sure this trio is trying to play power pop. Every once in a while I get convinced, and then the stuff wanders into heavier, more atonal territory. That's what I get for trying to pigeonhole a band.

I do get a bit of T.Rex and Stooges every once in a while, too. When all of these not-incompatible ideas spin together (such as on "Sex G"), the result is damned near bliss. Much of the time, though, the music is more muddled than magnificent.

A lot of potential. I do think Gazz needs to define its sound a little better, not so much to help idiots like me as to simply connect with an audience. Connect a few more dots in the songwriting, make it easy on the folks. I like a lot of the instincts I hear here. Just needs a little follow through.

GBH
Celebrity Live Style
(Cleopatra)
reviewed in issue #110, 5/27/96

A reasonably good live representation of Grievous Bodily Harm. The production is a bit treble heavy (kinda odd for a punk band, really), but good enough. The band trips through most of the memorable tunes that it had written by 1988, when this was recorded at the Celebrity Theatre.

Energy and style were never lacking with this band. Sloppy writing and playing were more of a problem, though the breakneck pace of this show pretty much eliminates such problems.

The main problem is that GBH, while a good punk band, never really broke out of the whole British scene, and its sound never really evolved past that. Fans might dig this, but on the whole it is an unimpressive addition to the rolls.

The GC5
Kisses from Hanoi
(Outsider)
reviewed in issue #202, 7/17/00

A ton of ragged anthems, and pretty good ones at that. The GC5 doesn't really excel at much more than crafting hazy choruses, but that's a pretty good trick right there.

The verses are often rushed, the riffage rarely more than bare bones, and yet when the songs get to that key moment, they shine. And, y'know, if the chorus works, a lot of problems can be forgiven.

And that's easily the case here. The GC5 is mostly faceless, except when the catchy bits kick in. Somewhere between oi and Clash-style ravers, I guess, though the band draws from a number of stock influences.

I wouldn't have given this a second thought, but the hooks keep ringing in my heads. Tuneful? Only in the vaguest terms. Irresistible? Precisely.

Much better than the disc I heard a couple years ago. The hooks, well, they're just as caustic and raggedly beautiful as ever. But the rest of the sound has really kicked in. Nowadays, the GC5 sounds like a real goddamn band.

The songwriting is sharper, too. The lyrics are clever, and they add a wee bit of bite to the surroundings. Of course, once the chorus kicks in it's all over. The GC5 sure knows how to crank a song into pop overdrive.

Without being poppy, of course. The guitars have enough rough edges to dispel any notions of slickness, and the vocals (both Pete Kyrou's lead and the backing howls) have just the right level of rasp. If you were trying to craft the perfect summer punk album, well, this just might be it.

And while a boatload of craft went into this album, all of it is well-hidden. What comes through is the band's energy and spirit. All the hard work has been converted into adrenaline. Just like it should be, doncha know.

Mark Geary
Mark Geary
(Paradigm)
reviewed in issue #177, 2/22/99

Geary may be Irish, but he's been living in New York long enough to appropriate a number of American pop influences. But he still manages to write songs from somewhere far inside, and that make all the difference.

The lyrics and vocals are outstanding, introspective trips through Geary's mind. The music, as written, is pretty good. Basic sound, when the production doesn't get in the way. It does, of course, and all those little studio tricks (some of the American pop things I was talking about earlier) can be annoying.

But not enough to turn me away from Geary's songs. Yeah, I wish the sound was a bit more a sparse and raw (at least without so much ornamentation), but I'll take this as it is.

Hey, for a first album, this is impressive far. Geary does know how to put songs together in such a way as to affect a listener's psyche. That can't be taught. It's a condition of the soul.

Ron Geesin
Land of Mist
(Cleopatra)
reviewed in issue #78, 6/15/95

A collection of works from this sometimes-collaborator of Pink Floyd (and ex-Floydsters) spanning the years 1970-1988.

Not for the feint of heart. This is experimental electronic music that would be in the tradition of such contemporary acts as Dead Voices on Air and Lab Report, except that Geesin obviously predates these. His only real peer age-wise is Brian Eno, but Eno has always been more listener-friendly than this stuff.

In short, these pieces are not songs, but very much sonic constructions which more often than not assault the mind of the listener. Geesin obviously doesn't believe in the song form, and his work reflects that appreciation of chaos.

Wither a linear reality? Nowhere near here.

Geezer Lake
James Dean 7"
(Thick)
reviewed in issue #98, 2/5/96

Perfectly indescribable.

Like the succinct press notice says, Geezer Lake combines punk, pop, noise, jazz and a whole lot of other stuff to create a big messy bowl of bitchen music.

The a-side is off the new full length. It's a glorious jambalaya of blurting horns, caterwauling guitars and wildly distorted vocals. Remember that note about Chicago pop acts with the Cheer-Accident review? Well, these guys fit that scene pretty well, except that they're from Greensboro, NC.

They can still walk the walk, though. The flip is a stunning bit of work called "Sages". The folks at Thick think it may be the best song on the whole picture disc series, and while there have been some good ones, they may be right. If the excellent "James Dean" had been as good, this would have been my first "Five A" review. But Geezer Lake comes close enough. If you see this anywhere, don't leave the store without it.

When this puppy arrived, I just about soiled my drawers. I mean, that "Sages" 7" was completely awe-inspiring. I was prepared to follow Geezer Lake off a cliff if they told me a pile of Foamy was sitting at the bottom of the fall.

The sound? Just the usual wacko Chapel Hill pop sound. Geezer Lake likes to use a bit more distortion and stuff than folks like Polvo, but the odd song construction persists. No complaints from my department.

Pretty tasty, with all the range and expanse you need in a great pop album. Geezer Lake isn't content to sit in a puddle of generic chords; hell, the guys rarely play a full chord. Ah, yes. Musical creativity.

Cacophony made beautiful; chaos distilled into life's pure essence. Stuff like that. Just remember one thing: Geezer Lake is fucking awesome.

I think that spells it out nicely enough.

Gemeinshaft
Gemeinshaft
(demo)
reviewed in issue #130, 3/17/97

Two songs, both astonishingly painful in conception and execution. The production is very treble-heavy, while the bulk of the music is bass-dominated. Yeah, a hack job, but it still works. I can't say why, exactly.

The Boston-area trio follows in the footsteps of fellow New England bashers Glazed Baby. Anguish and throbbing agony for their own sakes. Hey, don't ask me to explain this trend. I'll simply appreciate it, okay?

Now, these are songs in name only. Mostly random collections of crashing riffs and somewhat corollated hollers. There is no construction as such. Oh, "Omnibus" fakes some structure, but that is quickly exposed as a red herring. To move much past the garage noise phase, Gemeinshaft is going to have to actually plot out its musical moves in advance. I'm not saying this is improvised, exactly, but I bet it never sounds quite the same twice.

Which isn't so bad, either. The one thing I don't want to do is advise the guys to straitjacket their sound and feeling. Just a spot of crafting, here and there. That's all.

Gene & Mimi
This Is Gene & Mimi
(Pensive)
reviewed in issue #78, 6/15/95

Gene has a penchant for convoluted pop tunes, and the band backing this duo is solid as hell. If only Mimi didn't insist on trying to sing like Sandra Bernhard (particularly on "Something Important", a great song that is torched by her digressions).

Mimi is a better singer than Sandra, but she sometimes can't decide whether to sing or belt out the tunes, and the result in an occasionally maddening whine.

When she does come to a decision (like on the terrific raver "This Is Me"), everything is clicking wonderfully. Gene has a nice earnest voice, which compliments his songwriting perfectly.

Gene really does have a knack for writing cool pop in that distinctive New York style. A little more work on arrangements and such could really get this pair somewhere.

General Surgery
Necrology
(Relapse)
reviewed in issue #37, 7/31/93

More medical death metal. But while Carcass started from the grind side, this is more of a doom-influenced disc.

Back to the old school-no enunciation attempted here. Sounds like a lot of belches, really. A pretty neat effect.

There is more than a hint of grindcore, but General Surgery obviously have no need for restricting labels. They play what they like, and do it well.

The Generators
Tyranny
(TKO)
reviewed in issue #217, 6/4/01

If there's such a thing as post-post-Clash (or, perhaps more correctly, post-Rancid), the Generators fit right in. These boys discard a lot of the extras (the ska, the slower numbers, the pop pop) and just pound out uptempo anthems.

When I say pop pop, I'm talking about stuff like "Train in Vain." Nothing like that here. This is all fiendishly fast and almost criminally hooky--in a loud and haggard sorta way.

Just the way I like it. There was a point where I thought it might be nice for a change of pace. That didn't happen. But then, I didn't really worry about it after that. A diet of rock candy isn't particularly healthy, but it's okay to snack on every once in a while.

And an album of speedy, guitar-driven punk anthems isn't a bad thing. Particularly when they're done this well. The Generators aren't the most versatile bands around, but they sure know how to do what they do.

Generic Joe
Generic Joe
(SRC Music)
reviewed in issue #124, 12/2/96

Perhaps two years ago. But the second Collective Soul album bombed (rightfully so), and yet, Generic Joe thinks it can score with pretty much the same formula.

Any band that sounds like this is out to make cash. I hate to be rude or mean, but there isn't much in the way of original musical thought going on. Now, I said the same thing about Better than Ezra, and look what those bastards did with one MTV hit. Of course, their sophomore disc disappeared so quickly you thought the name "Vanilla Ice" had been spoken aloud.

Wanky "college rock" that is really neither. When the thought is to straighten out that R.E.M. thing, cheese it up a bit and flare the guitars a bit more, well, you've got a recipe for disaster. As always, it must be half-baked.

These guys get points for a well-produced album, one that any major label would be proud to release. If they thought anyone afflicted with musical taste might buy it.

Genital A-Tech
Subsonic Hysteria EP
(21st Circuitry)
reviewed in issue #161, 6/15/98

Leave it to the Germans to throttle that wimpy electronica sound and come up with something meatier. Engineered for greatness, this heavily distorted fare chews up all sorts of recent electronic trends and spits out some thick and sticky grooves.

Long songs, but definitely not boring. Sure, this stuff should raise the roof at a club (a place where dancing is encouraged, that is), but it's just as impressive when contemplated from a distance.

Too much going on, and the folks still manage to funnel all those ideas into a mildly coherent sound. From the edgily-distorted hip-hop of Tricky to the sample orchestrations of the Chemical Brothers, Genital A-Tech takes everything in and answers all the questions. Okay, so the music is loud and aggressive, bordering on mean. Dancing is a contact sport.

One of the best mutations of the Off Beat sound (such as it is). Genital A-Tech slaps down the grooves and dares anyone to beat them back. Not me, anyway.

Genitorturers
120 Days of Genitorture
(Shock Therapy-I.R.S.)
reviewed in issue #36, 6/30/93

Nice nipple clamps!

Just had to say that. But the music ain't too bad either, especially for a band that professes to be mostly a visual force. I mean, can you folks still stand that Green Jello (um, I guess that's Green Jelly, now) album? I thought not.

It's also really nice to hear a female voice get that raspy. From what I understand, she sings like that with full regalia onstage. Most men would find their voices rising in such cases.

No, it's nothing revolutionary or anything like that. But it sure is fun.

Talk about an act that would be lost without the stage show. Whenever things get kinda dull, Gen calls out for members of the audience to come forward and get pierced. Wherever they like.

The music itself has undergone a significant change during the long history of the group. What started out as shlock rock has evolved into a more techno-gothic-industrial experience. This disc sounds an awful lot like latter-day Thrill Kill Kult. With obvious cribbing from Ministry and more.

The best music I've heard from the band, which is not a compliment in and of itself. This is at least listenable, if highly derivative. Lots of posturing in the lyrics, which can get old very fast.

The show is still the thing. Lots of leather and skin, with audience participation. I'd advise you put your money down for that instead of any particular disc.

Gentle Readers
You in Black & White
(Flat Earth)
released in issue #160, 6/1/98

Two women from Georgia. Boy, wonder what they sound like, hunh?

See, that's where silly stereotypes come from. Yeah, the roots are in folk rock, but this album is a lot more rock than folk. Easygoing guitar licks and angst-ridden lyrics. Gentle Readers are not afraid to get dirtied up a bit before escaping into the clear.

In fact, other than Susan Fitzsimmons's husky voice, there's very little here that is reminiscent of the Indigo Girls. The music is basic and generally upbeat, and the lyrics concern more overt issues. Not preachy, but not obtuse, either.

Yeah, this more powerful approach might give the impression that Gentle Readers aren't the deepest group around. Probably true. But the songs kick out some nice grooves, and the lyrics still have plenty to say. Alright, so sometimes musical cliches creep in. Still an appealing album.

Gerling
Gapeseed
Transmission Report split 7"
(Stillwater Trading)
reviewed in issue #131, 3/31/97

The Gapeseed track is titled "Raise the Calculus Lude". It's much less produced than the album I just reviewed, though the basic elements of the band are still evident. This puppy is quite messy, but a lot of fun within the chaos. A worthy song, by all accounts

Gerling is Australian, and the note with this says that Stillwater is trying to release a bunch of split 7"s with U.S. and Aussie bands combining. And interesting idea, indeed.

The Gerling track, "Mother Mary", is much more mainstream-sounding. Still in the same basic area, but with more of an emphasis on structure. The noise comes more from the way the instruments are (or aren't) played). A real wall-of-sound here; the song starts off with a bass riff, and the attack doesn't cease until the end.

A cool, adventurous 7". This is exactly what small vinyl was invented to propagate.

Gary Gerloff Band
Ancestor Worship
(Planetary)
reviewed in issue #212, 2/19/01

There aren't many who would attempt a country blues record. Not necessarily torch spin on the jump blues, mind you (though there is some of that), but more of a western swing meets the rural blues. The way Gary Gerloff does it, you'd think this was a perfectly natural idea.

And, really, we are talking about two of the pure folk music forms of the 20th century, often played by groups of people who did live near each other. The thing is, for the most part these are Gerloff's songs. His reinventions of standards are the weakest link here, and they often sound like the Band trying to play the blues. Not that there's anything wrong with that, but his own pieces sound so much better.

Now that I think of it, of course, Dixieland (hardly a rural sound, but bear with me) provides a perfect bass line for two-step swing rhythms. And bluesy acoustic guitar shuffling fits right in with piano, organ or steel guitar. Gerloff achievement is in the way he weaves all of these "ancestral" sounds into something new and modern.

One of those albums that simply sounds timeless. It is, of course, and not just because of the breadth of music experience exhibited. Gerloff and friends breathe a colorful life into these songs. The full effect can't be fully described in a review. It must be heard.

Gerty
Carload of Scenic Effects
(Merkin)
reviewed in issue #143, 9/15/97

A cool power pop threesome. All three members write songs, and all three sing their own songs. The songwriting styles are fairly distinctive, and each member sings rather differently. Kinda like listening to three different bands.

I like that, really. All three are fairly good song writers, and the way the band as a whole manages to meld itself to each members singing style is pretty impressive.

A good number of the songs get lost at one point another or simply find themselves in inextricable positions. Usually playing live can work out those kinks, and I'd say Gerty should have tried this stuff out a bit more before committing it to tape. Probably would have removed the odd clunky factor.

Still, a fairly good album. There's a lot here to like, and plenty of room for future growth.

Valerie Ghent
Unstoppable
(West Street Records)
reviewed in issue #125, 12/23/96

A background singer and keyboardist for such folks as Debbie Harry and Ashford and Simpson, Valerie Ghent shows she knows how to write, record and perform good music. The synclavier-based songs have that mid-eighties pop sound (think "Lucky Star" or Maniac") that sounds kinda artificial, but is still burned into your memory.

Ghent is no great shakes as a songwriter (much of this album fits into that pop pabulum area), but she pulls off this limited material well. Her voice and production talents are the stars of this disc.

This is the stuff I heard on the radio when I was going to high school in New Mexico. All we had was country or top 40, and so I can quite identify with the lush yet brittle sound Ghent has formed. It's not where I'm at now, but her ability as a singer is unquestionable.

Songwriting is another matter, though there's a pretty big market out there for stuff that plays it fairly safe. Not my cup of tea, but still obviously rather good.

Ghoti Hook
Banana Man
(Tooth & Nail)
reviewed in issue #150, 12/29/97

Tight pop-punk that finds its roots in the DC suburbs. Yeah, ALL and NOFX are obvious influences (that's fairly common), though Ghoti Hook prefers to keep the sound a bit more stripped-down. The songs are uniformly upbeat, and differentiation can be sorta difficult.

But the tunes are quite catchy and even occasionally poignant. For the most part, though, these are the thoughts of suburban kids who kinda like subdivisions.

The music is rote, though performed with admirable energy. Similar to Millencolin in lots of ways, though not nearly as witty. Ghoti Hook is workmanlike punk.

I don't hear much to distinguish the band from a multitude of others. The stuff is good, but not terribly noteworthy.

Ghost
Hypnotic Underworld
(Drag City)
reviewed in issue #250, February 2004

The members of Ghost are more artists than musicians. Yes, they play music (most of the time, anyway), but that music is being played to elicit a certain effect. I happen to find this approach cool and interesting, but I'm saying this right up front so as to make sure everyone knows what the hell I'm talking about.

Which would make one of us, because Ghost doesn't exactly travel in a the real world. There are ethereal moments that are right out of Dead Can Dance, and there are shocking incidents of sonic violence. Then things get weird.

Want to know how odd this gets? Ghost recasts Syd Barrett's lyrics to "Dominoes" with new music. And this new setting is even more disconcerting, even though it has many echoes of the original.

In all, a typical Drag City release. Adventurous music for those who are willing to hike the back trails. The journey is most worthwhile; Ghost holds many jewels within its cape. Just don't give up before the end.

Ghosts of the Open Road
Rockola
(Wedge Records)
reviewed in issue #78, 6/15/95

Two guys trying to replicate the Whitesnake sound (with less bass) and replacing the sex rhymes with western movie themes.

In other words, highly anthemic glam with artistic pretensions. And it even works sometimes. Sure, in the end this stuff comes off as pretty silly, but when the guitar work is kept simple and the drums stick to a nice "boom-chicka-boom" beat this really clicks.

All in all, very weird for obviously commercial fare. It just doesn't add up. And you simply must hear it to believe it. Sorry I can't help you more than that.

C. Gibbs
as The C.Gibbs Review
Sincerity's Ground
(Earth Music-Cargo)
reviewed in issue #128, 2/17/97

Christian Gibbs of Morning Glories, of course. Easy-flowing rootsy stuff, with a simple production job that leaves the songs to speak for themselves. And with songs like these...

Lets just say Gibbs doesn't play things straight up. The songs are fairly dreary stories, an interesting counterpoint to the pleasant musical accompaniment. Not nearly as noisy as Morning Glories, which works pretty well with the material.

Alright, so he cribs all over the place. The most obvious is on "Animals Criminals", where he steals not only Mick Jagger's falsetto, but Keith Richards' country plucking style. I guess if you're going to take a little, you might as well appropriate the whole store.

But even with such drawbacks, Gibbs shows a nice touch with more delicate material. A pleasant afternoon's diversion.

He's not ancient, but Christian Gibbs has already lived a long life in music. He's been a hired hand, frontman for the Morning Glories, major label solo artist and now indie hero. After all that, he's either burnt out or he has plenty of stories to last the rest of his life.

Judging by the wide scope of this, his fourth solo outing, Gibbs will be telling stories long after he's put into the ground. And he'll be telling them in style. Much like Neil Young--an obvious influence--Gibbs changes his voice and music to fit the song. Yes, all of this fits loosely into that whole alt. country/Americana sound, but there's a lot more in there as well.

Each song tells a story. A hint: If you ever want to know if a songwriter will have legs, listen for character definition within his or her lyrics. If the point of view remains static, so will the songs. Gibbs not only inhabits his lyrics with real characters and ideas, he also make sure that the music fits the subject as well.

Stylish and supremely assured, Gibbs has made one of those albums that threatens to echo well into the future. There's not a clunker in the set, and most of the songs sparkle with an energy can is rarely found. Few do it better.

Giez
The Ambient Room
(Hypnotic-Cleopatra)
reviewed in issue #83, 8/21/95

Of course, this has one of those cool varied-image covers (the doors open and close). And the title pretty much describes the contents.

Bounding around from space to ambient, Giez does a nice job of varying the sound (which is kinda tough in this musical realm). Each ambient piece is set off by a more experimental electronic or space piece, perhaps intended as some sort of introduction.

But even in the purely ambient pieces many different sounds and ideas come into play, with things even bordering trance sounds at times. Giez may not have put out the best (and most diverse) ambient album I've heard this year (I'm sticking with Synesthesia for now), but The Ambient Room is pretty close (even if the title sucks).

Gift Anon
The Sweetness and the Sarcasm EP
(self-released)
reviewed in issue #215, 4/23/01

Musings from the Mineral side of emo. Gift Anon has not one, but two lead guitars meandering about trying to establish some sort of pattern. Alright, sometimes there's a traditional lead/rhythm arrangement. But I kinda prefer the dual leads.

Mostly because songs like these are all about the lines. The paths taken by the guitars, other instruments and vocals. That's what's matters here. And Gift Anon doesn't skimp. There's a pleasing, complex meshwork in these tunes, with some unexpected points of intersection cropping up here and there.

I'm all in favor of stuff like this. Gift Anon doesn't really do anything unusual with the sound, but it sure knows what it's doing, period. Simple elements combining into complicated mixtures. That's why this kinda sound will always fall pleasantly on my ears.

Gift Horse
Gift Horse
(Pinch Hit)
reviewed in issue #174, 12/28/98

Heavy in the bass, with some jangly hooks. You know, a kind of grunge pop. I guess. Hey, I don't care. The stuff moves and it sounds good. Need anything else?

That's really the trick to playing heavily distorted instruments. Keep them moving. Oh, sure, it doesn't hurt to write tight songs that tell cool little stories. That never hurts. But never, never let the song degenerate into a dirge. Gift Horse knows this well.

There's also the nicely inventive guitar lines. And I really can't get over the fine songwriting. These guys know how to crank out songs. Real well. I'm simply knocked out.

Wow. Supreme quality. A nice little three piece which knows how to craft fine tunes. Why ask why, indeed?

Gift to the Greedy
Flying Exorcist
(self-released)
reviewed in issue #165, 8/17/98

A lot of bloody racket, this is. The songs often start out nice and sweet, but fuck that, man, they degenerate into a pit of swirling guitars and rude hollering. Unless, of course, they don't. Fascinatingly, Gift to the Greedy has a number of things in common with Archers of Loaf. Both bands try real hard to warp the whole pop genre. Both succeed, though Archers of Loaf succeeds a lot better.

An unfair comparison to be sure. But Gift to the Greedy is an ambitious band. The songs are complicated morasses where riffage and sanity simply cease to be for moments at a time. Oh, sure, that's exactly the sort of thing I dig.

And I do like what I hear. The band needs to work its songs a bit more. Find a proper groove without losing that trailblazer spirit. Less of the jumping around and a spot more cohesiveness would work wonders. This isn't selling out, it's simply taking credit for your own personal thought. Right now, these songs often sound like random assortments of chord sets.

I know, I'm always telling young bands to work. As a young writer, I hear that advice myself. I believe it, too. Gift to the Greedy has the ability of the second sight. It just needs to harness that prescience into a more reasonable sound.

Bruce Gilbert
In Esse
(Mute)
reviewed in issue #150, 12/29/97

Explorations of modulated sound. Whatever created the base track (a guitar for much of it, I think), Gilbert has taken that sound and created something completely new. This is the pure electronic noise music. As Gilbert was present at the creation of Wire, well, this sort of mordant creativity should be expected.

Much like Namanax, really, though Gilbert keeps his sound very clean. The first track, "Soli" is a bit longer than 45 minutes, and if you're expecting something coherent, well, go buy a Hanson album or something. The noises Gilbert finds generally fit into the "otherworldly" category, but since his hand is so technical, there's an almost mathematical feel to the squeals and yelps.

Perfect for meditating on the madness of modern life, or simply for clearing your mind of extraneous data. This music requires your full attention, and then some. Yes, you have to think. My guess is that you're out of shape in that area, anyway.

A truly amazing journey through the world of electronic disturbance. Sure, it scares the kids. That's just one of its selling points.

The Ginger Envelope
Edible Orchids
(One Percent Press)
reviewed in issue #291, November 2007

One of those "hey, we should be in a band together" sort of things (there are members of Dark Meat, Venice Is Sinking and South San Gabriel within), the Ginger Envelope roams around the subdued rock universe with laconic grace.

I kept waiting to get bored. This sort of midtempo-at-best feel is not my sort of thing. I usually tune out after a minute or so. My theory is that anything you can say quietly sounds a lot more convincing when you scream it at the top of your lungs. The Ginger Envelope begs to differ, and I think I can hear the point.

Those who do like getting mellow more than me might be surprised at the amount of texture within these songs. There's a lot going on, especially when the band seems to be standing still. And I'm not talking about background stuff. The Ginger Envelope is so hypnotic that it's possible to miss sounds that are right on top.

Something of a sonic sucker punch, I suppose, though these folks seem far too mild-mannered for that sort of thing. Or maybe not. There's more here than meets the ears--at first listen, anyway. Well done.

Ginger Moon
Celebrity Volunteers
(South Tenth Street)
reviewed in issue #217, 6/4/01

There's a bit in the liners that says "There's one tune in here for everyone's tastes--radio and A&R people ... take note!" That sorta thing scares me. Sounds like the guys might be trying to make "hit" music.

But no. Ginger Moon plays a heavy version of jangle rock, occasionally venturing into straight-ahead rock and roll. The stuff's not bad when the guys just play. It's where they force things that the going gets dicey.

John Sullivan isn't a great singer. When his voice has to carry a song (say, on a slower piece like "New York Day"), it can't. But he sound good on the ravers. His gravelly voice is perfect for that kinda thing. In general, Ginger Moon seems to be happier (and certainly sounds better) with the faster and heavier material.

Even on the better songs, though, Ginger Moon doesn't particularly distinguish itself. There's a lot of bands playing stuff like this, and these guys are right in the middle of the pack. They need to figure out a way to bolt to the head of the line. Something distinctive. Then maybe those A&R guys might come calling.

Greg Ginn
Getting Even
(Cruz)
reviewed in issue #36, 6/30/93

As often happens, the disc sounds a ton better than the advance tape. Musically, this is an amazing sonic assault. I just wish I could make out the vocals a little more often.

Thing sound the best when they're chaotic, as on "Kill Burn Fluff." At other times, when Ginn tries to merge blues or other genres into his flat-out sprinting style, the effects are not quite as good.

Go for the shorter songs; they really stomp. All the spirit of a Black Flag album without the vocals.

While Getting Even (released not four months ago) was a sloppy return to his hard core roots, this album thrusts itself right into today's industrial melee.

This is about as self-indulgent as the last one, but the incessant beats are a much better backdrop for Ginn's meandering and feedback-laden guitar work. In other words, I think he's found his genre.

There seems to be no production, really, as the levels kinda flake on occasion, but that makes sense. This is a nice extract of vitriol, and unlike Getting Even, I think this Greg Ginn release is masturbatory and excellent. Check it out.

So you release two solo albums in a year, not to mention a group effort, and then what? Well, after taking a little time to make sure the record labels are running smoothly, you remix a few tracks from your solo albums.

The results are mixed; nice beats and reasonably good reproduction, but it does seem like the life of the songs has been sucked out. There was soul, and now this is soul-less. If that's the idea, alright. But I prefer a little feeling.

Yes, his third album release in a year. This one is more in the industrial vein of Dick, but does retain some of the hard core feel of Getting Even. In other words, more of the same.

That's not necessarily a bad thing, but it does start to wear on you after a while. This is quality stuff, as Ginn sure knows how to translate pure-bred rancor into sonic fury. But after some time, my reaction becomes: anything else?

One album of ill will is one thing. But three in a year definitely pushes the edge of my tolerance. Maybe Ginn will get a drug habit, or break up with his girlfriend or find something else to write about than oppression and hatred.

The gig is beginning to wear thin, though Let It Burn is a fine recording. Time to move on.

See also Gone, Hor and Screw Radio.

M. Gira
Drainland
(Young God-Alternative Tentacles)
reviewed in issue #78, 6/15/95

A "Swans related project", as if we didn't know that already.

These two solo works by Jarboe and Gira have really delineated the distinct songwriting styles of the two artists. Jarboe is highly conceptual with her lyrics, but her music is stridently derivative, as if she couldn't (or didn't want to) really create a new sound.

Gira is much more interesting musically, jumping all over in terms of styles and sounds. But at times I wish Jarboe's more esoteric lyrics would lift Gira from some of his mundane topics.

Each of the solo works is interesting on its own, but the more important examination is of the two together. And I have come to a greater appreciation of the collaboration that is Swans.

See also Jarboe and Swans.

Girls Against Boys
Bulletproof Cupid 7"
(Touch and Go)
reviewed in issue #35, 5/31/93

Not two years ago a person stood up in a KCOU general meeting and said that punk (hard core, I can't remember exactly what the terminology was, but you get the drift) was a dead genre. At the time Fugazi was a real good band, I recall this person being forced to withstand a pretty stiff cookie pelting as a result of his remark.

The reason I say this is that I have heard more great punk music the past year than, well, ever. And this is D.C. stuff at its best. Side one is a blazing, intense piece of riffola. The flip turns all that on its ear, experimentation that works.

You know, they once said disco was dead. I can endure a little thumpa-thumpa-thumpa if I get to hear bands like this once or twice a day.

I laid out the August issue of The Note, a regional music mag with distribution of 40,000. After digging through the various bins of CDs and tapes, I found the advance for this album. I played it back and forth about five times, really annoying a couple of people.

So I had an inkling that this kicked ass. When the vinyl showed up in my mail, I was pretty happy. One of the things I'm a sucker for is D.C. post-punk. So they're not based in our nation's capital any more. Does that change the sound? No.

I know a lot of you don't play anything that doesn't have overharmonized guitars and incoherent vocals. So be it. But these vocals do have a nice rasp, and there is fine music going on.

You folk should pay attention to more T&G bands than the Jesus Lizard. Just so you know.

Yes, there's more than Fugazi and Jawbox wearing a sash declaring themselves cool D.C. post-punk survivors. And in my book, G vs B is putting the better goods on the table these days.

Still a lot of distortion and madness swirling around in the vortex, but a tight rhythm section keeps things mostly in line. Where the last album had quite a few moments of mellow indecision, the intensity is kept cranked here. Just when you think things have built as high as possible-boom!

As before, melody is not only ignored but absolutely scorned. The emphasis here is on strident guitar licks and exacting rhythms. And yes, I do truly dig it.

A step ahead of Venus Luxure, the new G vs B has a simply wonderful racket.

The GVSB swan song for Touch and Go. These hyper-cool indie rocks stars are prepped and ready to hit mega-stardom with that maker of teen idols, DGC. But thatıs next time around.

Honestly, you would figure that after three albums (two on Touch and Go), the guys would have played out the idea of two-note riffs and post-punk hipster dronings. But no, this third Touch and Go outing is as fresh as any. And thanks to Ted Nicely's punchy production, the sound positively booms out.

A point? Jesus, you folks have been on the ride this long and you want all this to mean something? Come on. Girls Against Boys is merely a conduit to that place in your brain called the pleasure center. Cranking this disc releases all those hormones and enzymes that instigate giddiness and laughter.

And, not to miss the obvious, GVSB propagate a wondrous sexual vibe. The current is strong, and I suggest you swim with it. One thing everyone should know is that getting in the way of this band only gets you killed. So you might as well hang on for the ride of your life.

Girls Under Glass
Firewalker
(Deathwish Office-Nuclear Blast America)
reviewed in issue #140, 8/4/97

German engineered, with a guitar sound I haven't heard since Bloodstar. Nice to hear it resurrected, and these folks do the whole KMFDM hardcore dance attack rather well.

Now, it isn't any more than that, and there's no way Girls Under Glass could be called trendsetting or groundbreaking. Still, the stuff is put together for maximum effect, and the results are nothing less than stunning.

Lovingly crafted, each song bears the stamp of hard work. The rhythms and melodies are simple, but the instrumentation is nicely complex, shifting sounds around from song to song. This stuff could have gotten dull quite quickly. That it didn't is a testament to the band.

Tasty, if not ultimately filling. Of course, that's the perfect recipe for some. As long as you're asking for more, Girls Under Glass should be enough.

The Gits
Frenching the Bully
(C/Z)
reviewed in issue #25, 11/30/92

Just as the folks at SubPop are trying to milk the "Seattle sound" for all it's worth (a lucrative prospect for another year, at least), C/Z seems intent upon breaking the myth that all Northwest bands are on some sort of Seconal/PCP cocktail.

The Gits are a great punk outfit that would seem to be a lot more home in San Francisco (judging by the liners they have spent some time there). But happily for us they live in Seattle and recorded for C/Z.

Raw energy. The kind I like to feed off of in times of need. Mia Zapata's vocals kinda remind me of Alice Donut's Sissy Haynes, but the music is much more straightforward.

The production keeps things tight and fast, leaving no time for distraction. Nothing short of amazing.

Gladhands
La Di Da
(Big Deal)
reviewed in issue #131, 3/31/97

The name is appropriate. The Gladhands play happy-sounding pop music with some amusing lyrics ("Gore Girls (Gimme More)" is but one example). Simply way too punched up, though.

The sound is full enough to impress George Martin, and the little bits and pieces are very nice. But the whole feel is just a bit sickly-sweet. Too much candy.

And that's the only way they play. Even on slower, more contemplative songs, the Gladhands are still way too up. I just want to slap the guys upside the head and say "Some days suck. Write just one song about that, okay?"

Awful calculated, though fairly well-executed. The Gladhands need to find another note.

The Glass
Concorde
(Makeshift Music)
reviewed in issue #250, February 2004

So if the post-rock revolution went and invaded the prog-folk scene, well, the Glass would probably rise up from the ashes of the battlefield. These guys remind me of nothing less than the bastard child of 16 Horsepower and June of 44. And that ain't bad at all.

There are plenty of references to "old school" alt. country, especially Brad Bailey's vocals, which sounds a bit like a mixture of Gary Louris and Jay Farrar. There's a tender fragility to his singing that is immediately arresting.

But the music is the star. This stuff is well-conceived and highly crafted. The Glass didn't just waltz into some studio and thrash out an album. This puppy was baked with care. But it's not overdone. There are enough raw notes to convey plenty of emotion. A tough balance, but one that the Glass succeeds in creating.

For such a tight album, this puppy sure does swing. The Glass contains both accomplished songwriters and players, and the result here is a transcendent album. Most impressive.

Glassjaw
Worship and Tribute
(Warner Brothers)
reviewed in issue #235, November 2002

I never dug Rage Against the Machine. One of the people I trust most when it comes to music turned me on even before the band hit it big. Nothing clicked. I liked the political edge, but the music bored me. Thing is, Rage has influenced a lot of bands I really like. Take Glassjaw.

Not unlike Boysetsfire, these guys ride the extreme hardcore train, dressing it up with an expensive production job and a decidedly processed sound. What I dig is the band's ability to step away from the sonic apocalypse and pull in some melody from time to time.

Indeed, I think Glassjaw's greatest skill is dirtying up some truly pretty songs. This stuff may be loud, but it's got a really beautiful core. Hard to hear most of the time, but if you're patient all will be revealed.

What Soundgarden might have become if Seattle wasn't a pop city at heart, methinks. Glassjaw just might have its finger on the AOR sound of the new millennium. That can be a good thing, you know.

Glasstown
Your Trendy Dump
(Bitter Stag)
reviewed in issue #238, February 2003

Strangely crafty pop stylings. Glasstown plays astonishingly crafted stuff, but it comes across as fresh and exciting rather than dull and stilted. And a damned good thing that is, too.

The writing is what's crafted. Which is not to say that the playing sucks, but it's looser than the songs themselves. And that serves to make everything sound much more energetic and lively. The lyrics are occasionally long-winded, but they're always pleasantly sly, which is good enough for me

I have the feeling that I'm making no sense whatsoever. Let's see if I can rectify that. Glasstown worked its ass off in the studio to come up with this disc (there are plenty of little touches here and there), but I'd say these songs would work just as well live and somewhat less prettified. Though they're dreadfully wonderful as they are here.

That didn't work at all. Maybe I'm simply overcome. Anything's possible. Whatever the case, I'm really knocked out by what Glasstown does. This is some really fine work. And if I don't get anything else across, perhaps that message with suffice.

Glazed Baby
Karmic Debt
(Red Decibel)
reviewed in issue #56, 6/15/94

So you listened to the House of Large Sizes and Fat Tuesday and wondered when those boys at RdB were going to get back to releasing kick-ass headbanging wall-of-noise stuff like the classic Coup de Grace album?

This is one of the heaviest albums released in the entire history of the world. Yes, heavier than early Melvins and Skin Yard (though owing them a small debt). Yes, heavier than Jesus Lizard (though, again, owing them a little as well). Heavier even than Streetcleaner. Really. And these (three!) guys are using real instruments.

Glazed Baby wears you down until there is no resistance. Then you are violated and left for dead. After the disc is finished and you recover in the silence, a sort of craving begins. You need more. You crawl on your hands and knees to stereo and punch up the disc again. And hit repeat. And pray to whatever you think will hear you that you might survive this wave.

No words can describe the pain. Or the ecstasy. Absolutely the best album I've heard in years. A cornucopia of visceral stimulation. What else is there to say?

If you are unaware, Glazed Baby's Karmic Debt is about as vicious album as I've heard. A big slab of pounding rhythms and pure pain. So, of course, I've been looking forward to this disc for a hell of a long time.

And not unlike Kepone, who plays games with a lighter version of this stuff, the sophomore disc takes the edge off the sound, which can only mean we should now be focusing on what cool songs the guys can write.

And for some unknown reason, Glazed Baby has decided to slow things up at times. WHY?!? This stuff works only when it moves, and luckily for the album (and me), the dirge-like tempo of "Lucky 7" is not the most prevalent idea on the album. But it's still there too much for my taste.

Yeah, the guitar work is still pretty impressive, and at times the boys can create a really great sound. Even on one of the slow pieces like "St. Valentine's Day Massacre Blues". But often enough all that meticulous crafting gets lost in the generic sludginess of the sound.

A big disappoinment, for me. I didn't necessarily want , but I wanted more songs like "(Let Me Take You to) Chinatown", and less of the slow stuff. Glazed Baby had found a wonderful sound in the studio last time out, and for the most part that has been lost here. And the songs are just not up to the old standard.

For most bands, this would be an acceptable (if not really good) album, hence my rating. But it just doesn't show off Glazed Baby nearly as well as the debut.

Glazeride
Truly Unruly 7"
(Reptilian)
reviewed in issue #83, 8/21/95

Unruly indeed. Truly garish cludge-core that manages to rip off big chunks of sweet rhythm and disgorge them at the appropriate hour.

Each of the three tracks starts off coherently enough before degenerating into a real mess that probably includes assorted body parts in the mix.

An interesting idea, and one I wholeheartedly endorse. Can the band keep it up for a full-length of this material? I can only hope.

Gliss
Love the Virgins
(Mountain Lo-Fi Recordings)
reviewed in issue #278, September 2006

You know, that whole uber-hip slickster rock trio thing. Lots of moany vocals and slinky riffage. Been done to death the last few years.

But rarely has it been done this well. Kinda like if Girls Against Boys had gotten the whole major-label sound thing right. Or something like that. These folks devolve into some of the most sensual sounds I've heard. At times the guitar and drums simply exude hot, sticky sex.

And, you know, that's what rock and roll is all about, right? I must admit I didn't listen to the lyrics a whit. Though with titles like "Off to Bed," "I Want You" and, of course, the title track, I guess I don't need to. The music makes the point perfectly clear before the first word is sung.

I haven't heard a fuck album this good in years. Pop this one in your iPod, split out the sound and I guarantee you the best headphone sex you've had in many a year. If you don't know what I'm talking about, you just aren't trying hard enough. Because Gliss is trying harder than the two (or more) of you combined.

Glitterbox
Jesus Song 7"
(Atlantic)
reviewed in issue #145, 10/13/97

Britpop anthems. A weird, very poppy take on emo (lots of production extras like strings and such). I guess the distance across the ocean explains a little.

For a form that seems to thrive on minimalism, Glitterbox's slendor of excess is certainly arresting. I'm not sure I like it, but it's one hell of an idea. This is definitely not going to get all the kiddies over here going (too many Britishisms, for starters), but it's worth listen.

Potential, though these songs aren't the greatest. Still, something to watch.

The Gloria Record
Drove Home to that Achingly Long Song... 7"
(Crank!)
reviewed in issue #169, 10/12/98

A relatively new band made up of a couple ex-members of Mineral and two other similarly credentialed emo veterans. I'm guessing that the name of the band comes from an early Mineral seven-inch. Sounds a lot like Mineral (never a bad thing), though the Gloria Record focuses a bit more on the melody potential of the stuff.

The a side is from the band's self-titled EP on Crank. The flip is a demo-quality recording, but arresting nonetheless. All early reports of greatness from the Gloria Record are hereby confirmed. Music of astonishing power.

Really, the Mineral connection should wake people up. But even if that doesn't these two songs are more than enough to make the case for the band. That doesn't happen often, but then, bands like this don't come along every day, either.

Right on the heels of the 7" which knocked me out so. More achingly long songs. More elliptic genius.

Like Mineral, this band's genesis, the Gloria Record travels along the more ethereal side of emo. In fact, this disc never really crunches out. Melody plays a key role, something not usually heard in this sound.

But the evolution is welcome to my ears. Honestly, this is just an extension of the Mineral sound, and a great one at that. The songwriting is even more introspective and textured, the music that much more, well, emotive.

Sometimes an album comes along and grabs you by the balls. The music may not be hyper aggressive, but the result is the same. The Gloria Record takes hold and doesn't let go. An album of extraordinary power and grace.

See also Mineral.

The Gloryholes
Want a Divorce!
(Dirtnap)
reviewed in issue #238, February 2003

Straight-ahead two-minute pop-punk with a side order of goofiness. Perhaps the band name tipped you off there.

The jokes are simplistic and, more often than not, juvenile as well. The music is basic, but nonetheless executed with energetic style. There's a point where the vocal whine kinda gets to me, but I never stopped listening.

Hey, it's produced by Jack Endino (yes, you idiots, he's still alive). And any band that names its publishing company FuckLars Music (think about it for a minute) can't be all bad. Even if the jokes are, you know, a wee bit puerile from time to time.

Of course, the Gloryholes are the sort of band to take a critic who uses the word "puerile" in a review and strings him up by the balls. Which is pretty much all that needs to be said.

Glovebox
Glovebox
(Baria)
reviewed in issue #272, March 2006

Deee-Lite meets Madchester meets Macy Gray meets...maybe you get the idea. Just some Aussies trying to find a little American soul and dance while they're at it. Disco rock, in other words.

That's it. Nothing complicated. Snappy guitars, solid beats and sassy vocals. Catchy as hell. And so stripped down as to eliminate any chance of pretension.

Keeping things this simple is the key to the entire enterprise. Glovebox never oversteps the groove. Each song stays tied to that which is most addictive. And that keeps things more than solid.

Fun is not a bad word. And Glovebox provides much more fun than should be allowed by law. Awfully fine.

Gnome
Six-Hi Surprise Tower
(C/Z)
reviewed in issue #13, 5/15/92

Like many of the other artists on C/Z, Gnome has a great sense of how to use a guitar. But this is more than just grunge rehash. In fact, it's not that at all. More cool pop music, a la Treepeople or earlier Young Fresh Fellows. This is definitely cool. And catch the C/Z show at NMS: Hammerbox, Treepeople, Porn Orchard, these guys and more!

You folks should be getting this sometime next week. If you don't, call those nice folks at C/Z and ask why.

Produced by Jon Auer of the Posies, Gnome really kick out all the jams on their sophomore disc.

Despite this odd affliction the nation seems to have with pop-grunge music, Seattle, as we all know, is really the world's capital of pop music. And Gnome are pretty close to the top of that heap.

I'm not going to name names, because that would take too long, but C/Z has been a great showcase for many of those folk. On to the real review, then.

Heavy pop, a little less melodic than Six-Hi Surprise Tower. The songs seem a little more thought out, but not contrived in the slightest. Where as My Name has fallen under the expert tutelage of ALL, Auer seems to have honed Gnome into a tight, fighting pop machine. I would not be surprised if this is the finest pop album of the fall (yes, better than Nirvana or Pearl Jam). Really.

Gnosis
Tribal Metal EP
(self-released)
reviewed in issue #163, 7/20/98

I've been a fan of various sorts of metal for about 15 years, and I know a little bit about the subject. I've never heard of tribal metal. But hell, I'll take a gander anyway.

This disc doesn't help me out. Gnosis plays a kinda of European-influenced hardcore. Like if Black Flag was an Iron Maiden cover band (with someone whipping out the occasional Jethro Tull-style flute--or other wind instrument--solo). That's actually not too bad, when you think about it.

Unique, certainly. The songs themselves are generally a bit unfocused and need some tightening up (stray chords kinda crash into each other from time to time), but I like the idea. There is some work to do, definitely some gigging to as to understand how these songs work out live. But potential is high.

I'm still not entirely sure what tribal metal is, but Gnosis plays some intriguing music. It's not quite there, if you know what I mean, but I like the direction.

Go! Dog! Go!
Glad to Be Unhappy
(Risk-Ichiban)
reviewed in issue #129, 3/3/97

The title to the first book I ever read. Well, Go Dog Go! anyway. Who cares about punctuation.

Dreadfully sloppy alterna-pop, with the occasional soprano sax squeak. These boys pull out all the stops (and cranked the master volume to 11, to boot), and I must admit that the adrenaline rush is inspiring.

The music, on the other hand, loses its novelty appeal after a few songs. A real bash and pop experience, the players seem to be playing with sledgehammers. Nothing is precise or ever reasonably accurate. I like riff slinging as much as the next person, but it would help if the guys would hit the same one twice in a row.

And I wouldn't bitch so much, except that the band is obviously playing pop songs. This stuff is more structured than a Noel Coward piece, fer Chrissakes. It's not terribly good, but there's a road map a mile thick for the music. And that's why I wonder why it's played so poorly.

Sounds like people who want to be "alternative" to me. I can't imagine why people would work so hard to sound like shit.

Go Go Go Airheart
split CD
with 90 Day Men
(Box Factory)
reviewed in issue #199, 5/8/00

Some wonderfully noisy mayhem. 90 Day Men lead off (I'm just listing this in alphabetical order, because I'm a dork), sounding an awful lot like a somewhat more coherent and subdued U.S. Maple. The three songs aren't always in motion, but they're always going somewhere.

The guys sound like they're t