Venus Luxure No. 1 Baby

Wikepedia gives the genre as "Post-Hardcore, Indie Rock, Noise Rock" - of these "Noise Rock" seems to be the most appropriate for this truly depressing album. The album's only claim to fame that I can see seems to be that one of the tracks, "Bulletproof Cupid", was used in the "Need for Speed: The Run" video game soundtrack. Not sure how this got into the "1001 Albums You Must Hear Before You Die" list?

Wow. This one was easy to rate.

There are far more "post-hardcore" albums here than quality, influence, popularity, depth etc demand. I guess the author just liked the scene at the time. This wasn't a bad album by any means, but it *was* unremarkable. 3/5.

Not my genre of music, but this band nailed it. Was actually quite good

Really liked this one, saved for future listening

Interesting choice. The girl I sat next to in French and whom I fancied to a horrendous degree, liked these and so naturally I tried to get into them (no jokes, you dirty minded folk). I failed to, but she lent me a load of vinyl including the first Hole record, some Babes in Toyland and Bikini Kill. Probably some other stuff but I loved all that. Girls Against Boys then. Interesting choice in that said girl is pretty much the only person I can recall ever talking about this band, hence my mind being immediately drawn there. Listening 30 years later I'm hearing hints of Kyuss maybe, and of course their own influences. There's a lot going on here and I'm not sure why I didn't get into them at the time. Noise but with melody is right up my zone of interest. This has really got something. Slow or fast, it drills into you.

Dark, edgy, and fucking cool. Never heard this band before but it's great.

It's post-hardcore, so every song sounds heavy, and the vocals are scratchy and mono-tone. It all sounds a bit dated. If the vocals were better, the songs might have held up.

Nothing extraordinary about this album.

Horrid, horrid indie. I'm done with this shit. Really can't listen to this sort of crap these days.

I tried to convince myself this wasn’t that bad by thinking, “It’s kind of like The Jesus Lizard, I guess” but really this reminded me of nothing so much as Bush. So fuck this. I didn’t like this kind of shit when I was an angry young man, so I’m certainly not going to like it now that I’m a bitter, grouchy tired old man.

Completely utterly worthless

Me surpreendeu positivamente, esperava nada e veio coisa boa.

Never heard of these folks. This was a fun enough listen, although nothing revelatory. I'm sure there are a bunch of more exciting post-hardcore bands that shoulda made the cut before this, but thems the breaks! Fave track - "Go Be Delighted"

Pretty good. Dark, viberatie music.

Heard about this band, never listened to any albums or songs. Really good. Really, really good.

Let’s be honest, I am totally biased when it comes to this type of bands. The DIY musical movement has my heart and soul, so my opinion is going to exaggerate their pros while omitting their misses. Loved this album from start to finish. Lots of energy thrusted by great vocals and dual bass work. 100% recommended if you are into Fugazi and Dillinger Escape Plan

One of my favorite bands.

Ooh, guess I'm only the third person to review this! A nice and much-needed heavier rock album to grab my attention for a bit. It absolutely slaps! Definitely sounds newer than 1993, too. This is one that's totally new for me, but I found myself liking it a lot. Favourite: Let Me Come Back

Atrocious singing. Dung beetles wouldn't even want this crap.

Not a fan at all.

Indie shit

Just painful. Angry adolescent noise. (Having said that, I'd probably have been really into this when I was about 15.)

Solid 90s rock. Not much to say about it.

I liked this. Very 90s, but in a good way. Will listen again.

This is the kind of grunge I can get behind. A little thin, my opinion a bit inflated by intrigue about the band, there's more than a little bit of romance.

I mean, I’d put “Ride The Fader” by Chavez on the list over this (it’s a classic), but Venus Luxure No. 1 was pretty good, even though it isn’t a record you really need to hear before you die.

Album #16 Another band/album that I was not familiar with. From the get go, there is a clear garage/indie vibe with a very unique sound. I was wondering if the mixing was off because how the bass sounded (loud and rough), but it turns out that there were two bassists playing - neat! The vibe that it gave me was very early 90s grimy garage rock or even a post-hardcore sound. I digged this album, but it wasn't jaw dropping. I can't place any standout tracks and the lyrics, assuming you can make them out, aren't memorable. A generous 3*

I have nothing against this album in particular, it kinda just sounds like less creative but less abrasive Sonic Youth. But I am a bit annoyed that all that Wikipedia can say about this album is that one of its songs appeared in a Need For Speed game. Did we realllllllly need to listen to it? 5/10

Not very interesting. Nothing stood out on the album. 2/5 Won't listen again

I like the rawness of this but there is nothing to look forward too. No riffs, no breakdowns, no moments of feeling anything really. In the end it all just melts togeather.

Listened to this while cleaning. I'd rather have been playing a board game...but life isn't always fun and games. For some reason I had heard of Girls Against Boys before...but I'm not totally sure why. Maybe Hedwig and the Angry Inch...but that doesn't seem right. The album was kind of standard early 90s indie rock. Some great riffs here and there...but why this was selected over like 50 other equally good albums from the same time period...I'm not sure? I didn't dislike it...but it wasn't as strong as some of the other albums I've rated a 3...so this gets a 2. The girls won.

They have a heavy sound that leads nowhere, in my opinion. Nothing terribly exciting or above average with their sound and really a second tier hard rock/metal/grindcore/hardcore band. Okay, but far from essential.

It’s probably one of my least favourite on this whole list. for all my ambivalence towards fellow post-hardcore outfit Slint, at least they had menace & theatre going for them. This just plods… In theory, twin bass guitars should provide a unique twist but it gets really muddy and monotonous. Speaking of monotonous, I was worn out on the singer’s rasp after two songs. HL: “Bullet Proof Cupid”, “7 Seas” May 22, 2024

In a day when alt rock was huge, there’s no wonder this one never became a hit. No good

the reviews for this album sum up my views pretty well "... unremarkable, nothing extraordinary, not sure how this got into the list, completely utterly worthless"

Talk about repetitive. They choose 1 or 2 notes and then just drone that for the whole song while the singer grunts barely audibly into the microphone. Just bad. No standout song, not even a standout moment.

That was so good

5/5

"Post-hardcore, indie rock, noise rock" - yeah you just know this shit is going to be right up my alley. Never even heard of these guys before but everything fits just right on here. Great sludgy guitar riffs, I was enjoying every song.

This is kind of hardcore evolved into something a bit more melodic, but still plenty hard.

🤘🤘🤘🤘🤘

I love this stuff. Very grungy. Probably influenced Marilyn Manson. At least a 4, but maybe a 5 even. Reminds me of high school in the best way.

I'd never heard this before, and I love it. It's now in my collection.

This is a post-hartdcore sort of thing that represents the epitome of 90s lethargy. Cryptic lyrics, cool bass, f-ing great noise. I dig rockets are red the most.

Loved it, never heard of this album before. Full of raw, aggressive energy, grungy guitars and gruff vocals.

Such cool sound, effortlessly edgy while evocative

While looking at the cover art and listening to the first bars, my first reaction was to dismiss this as a hamfisted inclusion of "We Need An Album Of [Genre] In Here" and then dice were rolled but, turns out, this is pretty great! Like if two albums I owned, Sonic Youth's "Experimental Jet Set, Trash and No Star" (1994) and Filter's "Short Bus" (1995) had a slightly stoned time traveller baby. Noice! [...] [<--- time passed] I quite love this.

Even after listening and reading up on this record, I'm still not entirely sure why it was included in the list. I guess it must have been very influential for other bands down the line, and I can't fault that. This album is still superb and totally unique especially with the way 90's rock was sounding when this released

wow. this is another first for me. right up my street. have spun it up three times already.

One of those ones where I've never heard of the album or the artist....but ended up thoroughly enjoying. It gives lots, and clearly shows things that others have coped. Genuinely had a good time with it.

Literally never heard of these guys before, and this hit me right in the face. Excellent post-hardcore record. Favourite tracks: the whole thing is awesome.

good. Love the fuzzy bass heavy sound and hushed vocals. Sounds loud and quiet at the same time, the whole time.

This album fucks.

LOVE LOVE LOVE

I was introduced to this band when I was in high school by my older co-workers while working at local pizzeria but I had never listened to this album. This album rules and totally rips. Excellent band and excellent record.

A near-perfect "post-hardcore" album. So underrated it's a crime against the whole genre itself. The saturated basses played by Eli Janney and Johnny Temple (that right, "basses" in "plural") give this band a very distinct sound, and so do Scott McCloud's obsessive guitar riffs, husky vocals and part-sardonic, part-surreal lyrics. Plus, Ted Niceley's production is dynamic as f*ck. Dark atmospherics, menacing slow-growers, and propulsive rockers unite in this LP like in no other record. That's where *Venus Luxure No. 1 Baby* impresses the most: in its merging of different aesthetics that rarely mingle--therefore going far beyond the post-hardcore playbook as it was known in 1993. Also, every track is excellent, especially "In Like Flynn", "Learned It" and "Bulletproof Cupid", which are absolute gems. Once you hear those haunted vocals on the first, that heavy guitar riff on the second, or that hypnotic bass pattern on the third, it's basically impossible to forget them. So don't listen to the naysayers on this app. If you like your post-hardcore moody, with subtle pop inflexions that are both off-kilter AND catchy, this LP is for you. If you don't like such things, it's OK. But please, don't pass off judgement on musical styles you're just unable to comprehend anyway. Fawn over cheesy, "vanilla" stuff such as Bonnie Raitt, Adèle and Terence Trent D'Arby, and just say you're out of your league for anything that's a bit more exciting, original and "underground". And if you usually like that type of music but are still confused by the many idiosyncracies of Girls Against Boys, please give this album another chance later on. The global score for this record on this app is just a shame, enough said. Glad that Dimery's team put ot in this list, at least! 4.5/5 for the purposes of this list of "essential albums", rounded up to 5. Which translates to a 9.5/10 grade for more general purposes. Number of albums left to review: 346 Number of albums from the list I find relevant enough to be mandatory listens: 297 (including this one) Albums from the list I *might* include in mine later on: 156 Albums from the list I won't include in mine (many others are more essential to me): 210

post-hardcore 90er Album, das mir, obwohl es nicht so mein Genre ist, sehr gut gefallen hat. Jedes Lied hatte etwas an sich

I had heard of the band but never exposed to them. In the same vein as the Jesus lizard or mud honey. Really enjoyed this.

I think I knew the name of this band but nothing else. I ended up really liking this. It started a little slow but as the album went on I found myself enjoying it quite a bit. Oh dang, I've been listening to whatever Spotify suggests after this album for a couple of hours and enjoying it quite a bit. Kill the Sexplayer (which I know from the Clerks soundtrack) just came up on shuffle - I did not know it was by Girls Against Boys! Makes me like them even more. This is crazy, I've spent all day listening to artist radio and I really like this band. I'm leaving this album at a 4, but there's at least one other I would give a 5. This is reductive but their best albums me of Big Black mixed with Kyuss. Also learned about Hot Snakes, which is a band worth checking out.

Interesting more heavy

Nice. Can hear Marilyn Manson and IDLES taking elements of this. Good energy, good riffs, energetic vocals. My only gripe was the songs tended to blend into eachother a bit, so not sure this would have the same repeatability other stellar albums have. But a solid record anyway. Easy 4*

I really vibed with this. I liked the punk influences. The melodies are good. I’ll definitely listen again. 4/5

For as much as this list pisses me off (sometimes), there are still those times when you get underground gems like this that would've gone completely under my radar otherwise. This nearly 50-minute experience was filled with filth, fuzz, industrial tendencies, anger, and a subtly amateurish edge. 'Rockets Are Red' goes unbelievably hard and I'd say 'Stain Down' is when the vocals on here really clicked for me - a song that leans into its grunge influences. 'Learned It' has the meanest riff on here, diabolically slick. The closing 'Bughouse' has some of the album's most disturbing lyrics - they're enigmatic but my interpretation is that these "men in white" are taking the protag to some sort of asylum. I also love the mix here, everything sounds so muffled...like you're listening to the music through a tin can communication line where the other side's at the planet's core. This album conjures up this image of a bunch of underground vigil antes playing as loud as possible as they're trapped in some monoxide-leaking basement. It's kind of like watching a snuff film, except less gross and way more enjoyable.

This is like the least offensive post-hardcore album ever made. If you think this is too noisy, you're an actual infant. If anything, this list deserves more post-hardcore. Where's The Argument? Youth of America? Relationship of Command? Inject that shit into my veins man. Okay, anyways, this slaps. I doubt there's a single person on planet Earth who would consider this to be their "go-to post-hardcore album", but it's still a lot of fun.

having never heard of this band, their name and wikipedia excerpt (1993 indie rock) gave me the impression that i was about to listen to one of the 90's Most Licenceable Albums but thankfully those expectations were subverted. instead i got some pretty cool post hardcore with a little industrial mixed in for good measure. the vocals aren't my favorite but they're low enough in the mix for me to tune them out and enjoy that guitar tone

Not sure why I’ve never really given them a listen. I enjoyed this.

Oh yeah! This album really appeals to me. Having never heard of it I wasn't expecting much, but this album has got power and appeal. I'm glad I've learned about it! 4 stars.

Somehow this band has passed me by to date - and I'm glad to have now discovered them. Cheers!

DC in the house, woot! But, in light of the political events that just took place, I think there's less tolerance for Girls v Boys themes. Though I love that drummer, Brendan Canti was part of this outfit, the bass gets a little too close for the sinister for me to go all in without some kind of softer redemption track. Rockets are Red, harkens a little too close to Machinery Rage, and I feel like this album was produced just a little before that bass trend took off. This is my music for sure, but if this bass were any thudd-ier it'd be a complete turnoff.

### **In-Depth Review of *Venus Luxure No. 1 Baby* by Girls Against Boys** Girls Against Boys' *Venus Luxure No. 1 Baby* (1993) is an album that fuses post-hardcore, noise rock, and alternative music into a uniquely charged sound that captures the gritty spirit of the early 1990s underground. A staple of the indie scene during this period, Girls Against Boys (GVSB) was distinguished by their unconventional twin-bass guitar setup, which lent their music a distinctive low-end density. *Venus Luxure No. 1 Baby* represents the band's pivotal artistic moment, blending aggressive, dissonant energy with atmospheric textures and lyrical themes of alienation, lust, and urban decay. This review will break down the album by focusing on its lyrics, music, production, overarching themes, and its long-term influence on alternative and indie rock. ### **Lyrics** Lyrically, *Venus Luxure No. 1 Baby* is cryptic, detached, and moody, reflecting the disillusionment and existential anxiety of 1990s urban life. The lyrics, primarily written by frontman Scott McCloud, deal with themes of alienation, lust, consumerism, and decay, often filtered through a cold, emotionally distant perspective. McCloud’s delivery is often more monotone and spoken-word than melodic, which suits the dark, brooding nature of the album. There’s a certain urban coolness and detachment in his delivery, as if McCloud is a dispassionate observer of a decaying world. In tracks like "In Like Flynn," McCloud weaves together images of indulgence and self-destruction. Lyrics like "So tight, can’t sleep at night, what’s wrong with that, so clear, it’s all right" convey a sense of reckless abandon and a search for fleeting pleasures amid urban chaos. His delivery is direct, but the meaning remains ambiguous, leaving the listener to interpret the tension between desire and danger. "Bulletproof Cupid" features similarly oblique, sardonic lines such as “She’s my so-called girlfriend, yeah, bulletproof cupid.” Here, McCloud critiques shallow relationships that are based on appearances and surface-level interactions, another theme that runs throughout the album. While the lyrics are not the most straightforward, they are packed with evocative imagery. McCloud’s stark, minimalist approach emphasizes mood over narrative, and the words often serve as a vehicle for the music’s visceral impact. The drawback here is that this minimalism can sometimes come across as overly opaque, making it difficult for listeners to connect with the lyrical content on an emotional level. **Pros**: - Lyrics fit the atmosphere of the music. - Oblique, emotionally detached tone enhances themes of urban alienation. - Evocative imagery and dark humor. **Cons**: - Can be too cryptic or abstract, making it difficult for listeners to connect deeply. - McCloud’s monotone delivery may not appeal to those looking for vocal dynamism. ### **Music** Musically, *Venus Luxure No. 1 Baby* is a post-hardcore tour de force, with the band’s signature twin-bass attack providing a thunderous low-end that sets them apart from their contemporaries. The album is raw yet controlled, with jagged guitar riffs, pounding basslines, and tightly wound rhythms that create an atmosphere of intensity and tension. The twin bass guitars, played by Johnny Temple and Eli Janney, are a key aspect of the album’s sound. Rather than simply doubling up on the low-end, the two basses serve different roles—one holds down the rhythmic groove while the other often plays lead-like lines that are distorted and aggressive. This duality creates a deep, rumbling foundation for the rest of the music, giving the songs a distinctive sense of weight and density. In tracks like "Rockets Are Red" and "Sexy Sam," the interplay between the basses and Alexis Fleisig’s precise drumming is tight and propulsive, driving the songs forward with relentless energy. Eli Janney also contributes keyboard textures that give the album a subtle yet crucial layer of atmosphere. The synths are used sparingly but effectively, providing a sense of space and tension that complements the rawness of the guitar and bass. Songs like "Go Be Delighted" feature eerie, droning keyboards that enhance the dystopian feel of the music. Scott McCloud’s guitar work is sharp and angular, contributing to the album’s jagged, aggressive feel. His riffs are often repetitive and minimalistic, but they create a hypnotic, relentless energy that builds tension throughout the album. On "Rockets Are Red," for example, the guitar provides a constant, grinding riff that locks in with the bass and drums, creating a sense of claustrophobic intensity. One criticism of the album’s music is that the relentless, heavy sound can become monotonous over the course of its runtime. While the intensity of the music is a key part of its appeal, there are moments where the songs blur together due to the repetitive nature of the arrangements. However, for fans of raw, visceral post-hardcore, this consistency is likely a strength rather than a weakness. **Pros**: - Unique twin-bass setup creates a powerful, distinctive sound. - Tight, aggressive musicianship throughout. - Effective use of keyboards and synths to create atmosphere. **Cons**: - Some tracks can feel repetitive or monotonous due to the heavy, unrelenting sound. - May be too abrasive for listeners unfamiliar with post-hardcore or noise rock. ### **Production** Produced by Eli Janney, who also plays bass and keyboards in the band, *Venus Luxure No. 1 Baby* has a raw, unpolished sound that perfectly complements the music’s aggressive, urban energy. The production is clean enough to allow the various instruments to stand out, but it avoids the over-produced sheen that could have dulled the album's edge. One of the most impressive aspects of the production is the way the twin basses are handled. It would have been easy for the low-end to become muddy or overwhelming, but Janney’s production keeps the basslines distinct and punchy, ensuring that they drive the songs without overwhelming the other instruments. The drums are also prominently featured in the mix, giving the album a propulsive, rhythmic force that underpins the chaos of the guitars and bass. The vocals are placed relatively low in the mix, which enhances McCloud’s detached, dispassionate delivery. His voice often seems like another instrument in the mix, blending into the overall sound rather than standing out. This production choice reinforces the album’s sense of alienation and emotional distance, though it may make it harder for listeners to engage with the lyrics. However, the rawness of the production can also be seen as a limitation. Some of the subtler elements, like the keyboards and synths, are occasionally buried beneath the wall of sound, making them harder to appreciate. Additionally, the album’s sonic consistency—while intentional—can make it feel a bit one-dimensional by the end. **Pros**: - Raw, gritty production enhances the album’s visceral energy. - Excellent handling of the twin basses and rhythmic elements. - Fits the mood and themes of the music perfectly. **Cons**: - Some subtle elements are buried in the mix. - The low vocal mix may alienate listeners who want more lyrical clarity. ### **Themes** *Venus Luxure No. 1 Baby* explores themes of alienation, lust, consumerism, and urban decay, all of which were prevalent in the post-punk and alternative scenes of the early 1990s. There is a sense of disillusionment with modern society, as well as a preoccupation with the darker aspects of human desire and interaction. Sexuality is a recurring theme, often presented in a detached, almost clinical manner. On "Bulletproof Cupid" and "Sexy Sam," McCloud explores lust and desire without romanticism, instead highlighting the emptiness and superficiality of modern relationships. These themes are closely tied to the album’s urban setting, where individuals are isolated, disconnected, and searching for meaning in a world that seems cold and indifferent. Consumerism and commodification also appear as thematic undercurrents. In songs like "Learned It," there is a sense of critique directed toward the commodification of relationships, emotions, and even rebellion. The album paints a picture of a world where everything, including human connection, has been reduced to a transaction. At the same time, there’s a sense of nihilism that permeates the album. The characters in these songs seem to be searching for something—pleasure, connection, meaning—but they are constantly met with emptiness and dissatisfaction. This existential tension is at the heart of the album’s mood, making *Venus Luxure No. 1 Baby* a bleak but compelling listen. **Pros**: - Themes of alienation, lust, and urban decay are well-developed. - Captures the mood of early 1990s urban life and disillusionment. - Nihilistic tone adds to the album’s emotional impact. **Cons**: - The detached, bleak themes may not resonate with all listeners. - Can feel overly nihilistic or one-note in its thematic scope. ### **Influence** *Venus Luxure No. 1 Baby* stands as one of the defining records of the early 1990s indie and post-hardcore scene. The band’s innovative use of twin basses and their ability to merge noise rock with groove-heavy rhythms influenced a wide range of artists in the indie, post-hardcore, and even post-punk revival movements. Bands like The Jesus Lizard, Fugazi, and Jawbox can be seen as contemporaries of Girls Against Boys, but the band’s unique sound set them apart from these acts. The rhythmic interplay and low-end focus of GVSB would later influence post-punk revival bands like Interpol, who adopted a similarly bass-driven sound in the 2000s. While *Venus Luxure No. 1 Baby* never achieved mainstream success, its cult status and critical acclaim have solidified its place as an influential record in the post-hardcore and indie rock canon. Its raw energy, dark themes, and innovative musicianship continue to resonate with fans of underground music. **Pros**: - Influential in shaping the sound of post-hardcore and indie rock. - Innovated with its twin-bass setup and rhythmic focus. - Continues to inspire bands in the post-punk and noise rock scenes. **Cons**: - The album’s abrasive style limited its mainstream appeal. - Some of its innovations have been overshadowed by more commercially successful bands of the era. ### **Conclusion** *Venus Luxure No. 1 Baby* by Girls Against Boys is a powerful statement of post-hardcore aggression, urban alienation, and emotional detachment. Its innovative use of twin basses, raw production, and moody atmosphere set it apart from its contemporaries and solidified its status as an underground classic. While its cryptic lyrics and relentless intensity may not appeal to everyone, the album’s influence on the indie and post-punk scenes is undeniable. **Overall Pros**: - Unique and powerful sound. - Effective thematic exploration of alienation and urban life. - Strong influence on later bands. **Overall Cons**: - Can be difficult for listeners to engage with due to its detached tone and relentless intensity. - Some may find the production too raw or the lyrical content too opaque.

Post hardcore/noise rock/indie. Dudes got a real raspy voice, and the band has two bassists, so the music hammers ya in the chest if nothing else. Some songs are absolutely horrible, but most of the album is great. One of the founders came from that band Fugazi apparently. The method of singing (basically shoving the microphone in his mouth and screaming into it) leaves a bit to be desired, but there are some interesting concepts on this album. I quite enjoyed it Favourite songs: Rockets Are Red, 7 Seas, In Like Flynn, Bullet Proof Cupid, Learned It, Billy's One Stop Least favourite songs: Satin Down, Bughouse 4/5

Banco lo emo ql de este wn buena de el

Probably my best discovery so far in this challenge! Liking this record a lot :)

Impressive. Would have been great to see live. Fave tracks: Bullet Proof Cupid, Billy's One Stop

For a post-hardcore and noise rock album, this one’s pretty cool. I’ve listened to Girls Against Boys before, I even owned one of their CDs back in the day, but I don’t remember it sounding quite like this. A lot of people are complaining about it being on the 1001 albums list, and while I kind of agree that it might not belong there, I’d still rather see this on the list than pop albums from the likes of Christina Aguilera. This album isn’t particularly fast for post-hardcore, but it’s raw, dirty, and gritty, with those double bass guitars giving it a thick, low-end sound full of distortion. Even though it’s abrasive and noisy, there’s a strong groove to it. The vocals are monotone and almost spoken word, while the production is rough and gritty, adding to that underground indie rock feel.

I would say this feels like it's hopping on the post-hardcore bandwagon, but considering I can't imagine that movement was mainstream enough for there to be anything to hop on to, unlike grunge or nu-metal, perhaps this is just the safer side of the genre. There's some great, violent tracks with a lot of gusto, and it can really scratch that itch of throwing something across the room for you, so you don't destroy that pretty little phone of yours. It just feels like a good but vague showcase of a genre that may need some explaining when showing to your mom, so this is certainly a landmark achievement of being the Stone Temple Pilots of something or other. It's good, nonetheless.

Pretty good. Rough, but ocassionally melodic

I hadn’t heard of Girls Against Boys before so went into this without knowing anything about it. Almost immediately, I knew this was going to be an album I enjoy. The guitar tones are absolutely filthy and I love it. The vocals give vibes of apathy which has also been a style I favour for a very long time. This was a lot heavier than I was expecting to be, and it is all the better for it. I’ll have to remember this band and listen to more from them.

Nice. Solid noise-rock / post-hardcore stuff. Quite a few songs give me Steve Albini vibes.

12,000 monthly listeners is suspicious. This is actually kinda cute. Good head bopping, driving beat. It’s loud, but not too bad. Not too serious. Well produced. You can actually hear the instruments and the singing. There’s a good flow from song to song. Balanced, interesting, well crafted. It’s kinda sorta like Soundgarden, mixed with Fugazi and Sonic Youth. It works. Saving most of this. After reading some of the other reviews, I fully expected to hate this. But it’s not bad at all. Fun record. This aged a hell of a lot better than some of the more popular bands on this list. Bitches are sleeping on this one. 4/5

Really solid stuff! I like the sound a lot and there's a couple really good songs. Very cool distorted/hazy vibes

Not a band I was familiar with, but I enjoyed it. A couple of the tracks might find their way into a playlist at some point.

That early 90's alt low key rock vibe

Kannte ich mal gar nicht. Sehr eigen - cool!

this is yummy

Heard "noise rock" and was dreading, however this was a good album, subtle at times, doing different things with it's songs and keeping me hooked all the way through. 3.7

It was not too exciting, but I really dig it

I’m not sure how this flew under my radar for over 30 years. It is squarely within my wheelhouse and teenage me would’ve eaten this shut up, yet I never heard of it. It sounds a bit like if Hüsker Dü hired the drummer from Ministry and then made an album with Steve Albini. If I wasn’t clear, I dig it.

Never heard of this band. It was pretty rockin. Will try to listen to it again.

Had only listened to one song but this is a pretty hard rock solid album. It was surprising and it dumbfounded me at times with their change of pace and how the album was organized.

Enjoyable, although it got pretty blendy. This is a band I've heard of before but never sat and listened to. It borders on a little too whiny for me at times but I'm going to still give it a bonus star for being a fun discovery.

8/10

Over post-hardcore heb ik al wel eens eerder een boekje open gedaan. Een genre dat me prima zou kunnen liggen, maar we krijgen bij dit soort genres voornamelijk de grondleggers en de voorlopers te horen. En niet wat voor moois het in potentie kan zijn. Maar goed, we leveren ons zoals gewoonlijk weer keurig over aan de grillen van deze snoblijst. Het ene nummer doet me een beetje denken aan Lou Reed met zijn Velvet Underground, maar dan 25 jaar later. In een recenter versleten leren jack. Een ander nummer is meer een muur van geluid zoals Dinosaur Jr. De muziek klinkt redelijk kaal, zoals gebruikelijk eind jaren 80 en begin jaren 90. Er zitten stukken tussen die voller klinken en iets meer groove hebben, en dan klinkt de potentie van het genre er wel iets in door. En lijkt het soms zelfs iets op de stoner van Kyuss en later Queens of the Stone Age, of Sonic Youth. De zure broeders zullen het misschien wel weer helemaal niks vinden, al heeft dit wat minder elementen om een hekel aan te hebben voor ze. Het is eerder nietszeggend voor hen, dan aanstootgevend. Een 2 gok ik. Ik zal het niet compenseren met een 5, maar ik wil een 3.5 wel zoals vaker afronden naar een 4.

Actually enjoyed this. I've never listened before to this band, and it wasn't at all what I expected.

4.49

Never heard of this before. Not necessarily my style but I like it

This was not as bad as I feared after reading some of the comments. Forget the vocals, as most of the time, I couldn't understand anything due to the low, growling voice that was drowning in the music somehow. The sound is grungy but raw so post-hardcore may be an adequate category.

How have I never heard of this band?! Loving the punchy underground rock. Takes me back to those 90s rock nightclubs, 2-for-1 drinks of whatever rancid alcopop they were flogging, sweaty moshpits, drunken bruises, foolishly thinking we were living our best lives, yeh!

Two bassists! Girls Against Boys is one of the Touch and Go post-hardcore bands of the early 90's that would be overshadowed by their contemporaries like Slint, the Jesus Lizard, and Shellac. This was also around the time that Fugazi was cementing the new sound of post-hardcore for the 90's, effectively carving out their own little piece of alternative music history. It makes sense, then, that Girls Against Boys would bear some similarities to Fugazi, especially considering Fugazi's drummer Brendan Canty founded the band. He's only on the first record, however, so it would be drummer Alexis Fleisig taking over for the rest of their discography. Regardless. Venus Luxure No. 1 Baby is a dirty, grimy album that reminds me of my favorite Queens of the Stone Age album, Era Vulgaris. It revels in muddy, distorted guitar tones and raw power. The sound often revels in a low place where it gives way for moments of quite contemplation followed by a wired release of noise. There is perhaps something to be said about the influence of grunge, but I won't say it here. Girls Against Boys honed their own sound, and they did it damn well.