Venus Luxure No. 1 Baby

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 copied. 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

4.7 grata sorpresa, garage finisimo

Some pretty solid post-hardcore/grunge/emo/whatever you call that sort of moody angsty 90s punk.

Pretty decent

Never heard of this before, but ya, I liked it, nice rocking sounds.

Très sympa !

Quand on s'attelle sérieusement à l'exploration des années 90, consigné religieusement dans le livre "1001 Albums You Must Hear Before You Die", on est souvent pris d'un vertige mêlé d'agacement. On a parfois l'impression de traverser un immense désert de conformisme où les mêmes têtes d'affiche reviennent en boucle, célébrées par une critique officielle qui a tendance à confondre l'audace artistique et les chiffres de vente certifiés par l'industrie. C'est le grand piège de ce genre d'exercice encyclopédique : glorifier le consensus au détriment des secousses telluriques les plus féroces. Pourtant, il suffit parfois de tourner une page pour tomber sur une véritable anomalie, un truc sombre et anguleux qui refuse de rentrer dans les cases prévisibles de l'époque. C'est exactement le choc que j'ai ressenti en retombant sur l'entrée dédiée à Girls Against Boys et leur brûlot de 1993, *Venus Luxure No. 1 Baby*. Voir ce nom briller au milieu du catalogue m'a immédiatement sorti de ma torpeur, me rappelant que les années 90 c'était aussi une sacrée mine de plomb pour qui savait chercher hors des sentiers battus. Pour capter l'essence même de ce disque, il faut impérativement oublier l'histoire qu'on essaie de nous revendre depuis trois décennies. Cette histoire où on nous rabâche les oreilles avec Seattle, les chemises de bûcheron élimées et cette détresse adolescente marketée qui tournait en boucle sur toutes les ondes commerciales de la planète. C'est une vision fatiguée, uniforme et franchement chiante du rock alternatif de cette fin de siècle car pendant que la masse s'extasiait sur ces nouveaux produits calibrés pour les stades, une poignée de déviants construisait une tout autre cathédrale de bruit. Girls Against Boys, originaire de Washington D.C., débarque alors avec une proposition sonique radicale qui prend tout le monde à contre-pied. Ils signent sur le légendaire label indépendant Touch and Go et nous balancent cet album au titre évocateur de film érotique de série B. Allons droit au but, ce disque est un putain de bloc de béton armé et l'axe central qui fait que ce truc n'a pas pris une ride aujourd'hui, c'est son architecture rythmique totalement inédite basée sur l'utilisation de deux basses simultanées. C'est une idée d'une simplicité biblique mais d'une efficacité proprement dévastatrice sur le plan physique. Car quand le premier bassiste s'occupe de poser des fondations pachydermiques, saturées à l'extrême par une distorsion crasseuse, le second s'amuse à broder par-dessus. Il déroule des lignes sinueuses, agiles, incroyablement élastiques et lourdes. Le résultat de cette alliance contre-nature est un double groove monumental qui te chope directement sous la ceinture. C'est du putain de hardcore, mais un hardcore hybride, mutant, qui a troqué les tempos rectilignes et bêtes du punk traditionnel contre une sensualité lourde et poisseuse. GVSB invente ici la bande-son idéale pour les fins de nuit difficiles, une musique mécanique qui simule la moiteur des clubs underground après minuit, là où les murs suintent la sueur et le danger immédiat. On est loin de la froideur cérébrale de certains de leurs contemporains du rock indépendant. Le travail des autres instruments vient parfaire ce tableau clinique de la tension urbaine. Les guitares électriques ne sont jamais utilisées pour aligner des solos de branleurs de manche en quête de gloire passagère. Elles interviennent exclusivement par éclairs abrasifs, des stridences stridentes et chirurgicales qui viennent lacérer le rideau de basse épais pour te coller des acouphènes durables. La batterie, quant à elle, claque de manière sèche, implacable, avec la précision d'un métronome sadique. On ressent bien également l'influence et le compagnonnage de route de formations massives comme Big Black, Fugazi ou The Jesus Lizard, tous habitués à maltraiter les structures du rock traditionnel. Mais Girls Against Boys y apporte un côté résolument nocturne, une morgue sexuelle et provocante qui fait toute la différence. C'est de la noise conçue pour les pistes de danse désaffectées, un truc vicieux qui avance avec une assurance insolente. Au milieu de ce chaos parfaitement orchestré par le producteur Ted Nicely, la voix de Scott McCloud s'impose comme le liant indispensable. Sa performance vocale prend le contre-pied absolu des hurlements de possédés qui saturaient le marché alternatif de l'époque. McCloud choisit la carte de la retenue feinte, délivrant son venin à travers un murmure éraillé, blasé et profondément menaçant. Son chant se situe dans un entre-deux fascinant, entre l'arrogance glaciale de la post-punk et la hargne froide du rock indé. C'est l'attitude parfaite d'un prédateur de trottoir qui te raconte des histoires louches à l'oreille pendant que ses complices s'occupent de te briser les côtes avec la section rythmique. Cette morgue feutrée installe une atmosphère de film noir moderne absolument irrésistible tout au long de l'album. On s'y croit immédiatement, déambulant dans les bas-fonds d'une métropole en ruine sous une pluie acide, le cœur serré par une paranoïa grandissante. Dès l'ouverture magistrale avec "In Like Flynn" et son riff froid comme le verglas, sa basse qui rampe et ce chant murmuré qui te fait comprendre que la récréation est bel et bien terminée. Le disque s'enchaîne ensuite sans jamais relâcher la pression, maintenant une tension étouffante qui refuse la facilité des explosions gratuites. C'est une expérience immersive totale, un tunnel de bruit sourd dont on ressort épuisé mais le sourire aux lèvres. On traverse des moments de pure lourdeur avec le vrombissement malveillant de "Satin Down" ou l'urgence mécanique de "Let Me Come Back" sans que la machine ne déraille jamais. Le morceau "Bullet Proof Cupid" vient enfoncer le clou avec son twang de guitare sale et sa rythmique de plomb. Chaque titre partage la même sève toxique, la même obsession pour ce groove physique et obsédant qui définit les grandes heures du post-hardcore américain du début des années 90. Mais alors, face à une telle démonstration de force et à un plaisir d'écoute aussi intense, pourquoi est-ce que je refuse de coller la note maximale à ce disque ? Pourquoi ne pas lui attribuer un 5 sur 5 sans discussion ? Tout simplement parce que je dois m'imposer une lucidité totale face au système mis en place par le groupe. La formule magique du double groove de basse, aussi bandante soit-elle lors des premières pistes, finit par montrer ses limites sur la longueur. Au bout d'un certain temps, le procédé devient un poil linéaire, voire prévisible. On commence à voir venir les cassures de batterie, on devine à l'avance quand la seconde basse va faire son entrée pour épaissir la sauce, et le disque finit par ronronner un peu dans son propre confort de bruit. Le groupe a trouvé son filon idéal et il le creuse avec une obstination remarquable, mais au détriment parfois de la surprise et du renouvellement. On ressent une légère sensation de surplace sur le dernier tiers de l'album, comme si la bête tournait un peu en rond dans sa cage de béton armé. J'aurais aimé que le disque déraille complètement pour de bon, qu'il sorte de ses rails magnifiquement huilés pour sombrer dans une agonie bruitiste totale, un chaos lofi incontrôlable ou une dérive expérimentale radicale. Mais GVSB reste un groupe un poil trop discipliné, maintenant le cap avec une rigueur clinique qui étouffe parfois la folie destructrice pure. De plus, avec le recul des années, force est de constater que certains micro-choix de production ou l'utilisation très discrète de synthétiseurs ancrent le disque un peu trop précisément dans son époque. Quand on compare cette production aux chefs-d'œuvre intemporels consignés dans les décennies précédentes du projet "1001 Albums You Must Hear Before You Die", on sent bien que *Venus Luxure* porte en lui les stigmates de son année de naissance. Rien de dramatique, mais c'est ce qui sépare un excellent album de genre d'un monument absolu de l'histoire de la musique. En fin de compte, ce disque reste une étape indispensable du projet 1001 albums. C'est un album fier, arrogant, lourd et d'une efficacité redoutable qui rappelle que le rock des années 90 savait être autre chose qu'une simple posture de vaincu en sweat-shirt.

amazing hardcore

Pretty good.

This was great! Glad I've heard this, and astonished I've not heard this band before! :)

Grata sorpresa la de este disco de indie rock que, en pleno auge del grunge, sabe inspirarse y producir unos temas suficientemente alejados de esa tendencia pero con mucha energia post-hardcore. Hay verdaderos pepinazos para todos los gustos. Si te va el noise-rock tienes "Learned It", si prefieres algo más convencional, lo tuyo es "In Like Flynn", y si quieres algo más oscuro y misterioso, hay temas como "Get Down" que te encantarán. Un notable bien alto para ellos.

Noisy, a bit more rock-y than other grunge of the same time-period. Pleasantly surprised by this band, whom I've never heard of before.

"Venus Luxure No. 1 Baby" is the second studio album by indie rock band Girls Against Boys. Post hardcore and indie rock are the Wiki-listed genres. The album was produced by Ted Nicely and bandmembers included Alexis Fleisig (drums), Eli Janney (sampler, bass, vocals), Scott McCloud (lead vocals, guitar) and Johnny Temple (bass). The album received decent reviews. "In Like Flynn" opens with an ominous and thumping bass and heavy pounding drums. Long electric guitar strums. McCloud with deep and scratchy vocals. Driving and dark hard rock. A higher-pitched ringing guitar begins "Go Be Delighted." More dramatic but still an overly ominous tone. The album really gets rockin" in "Rockets Are Red." A more metallic guitar. Grungy, sludgy. The songs turns with an almost relentless pace and a hypnotic and swirling guitar sounding like a sledgehammer. "Learned It" combines the pounding drums, hypnotic vibe and grunginess. A chunky and distorted guitar and actually melodic echoing vocals. "Bulletproof Cupid" starts out soft with McCloud whispering. The band kicks in with a ringing reverbing guitar. More thumping. More drama. More echoing vocals. Dark, ominous, a thumping bass and drums and ringing and distorted guitars. It's hard to exactly pinpoint the style but the music can be grungy, sludgy, post punk and even metal. McCloud's hoarse and throttled vocals fit perfectly with music. So, do the lyrics which deal with the seedy underbelly of a city, dysfunctional relationships and hedonism. It took me awhile to really get into this album but once I did I really liked it. I had similar experiences with post hardcore and other indie bands such as Slint and Red Red Meat. So, an album I can't recommend for everyone but if you are a fan of the bands previously mentioned, this is well worth your time.

Quite earnest and feels like I should be putting on a neo from the matrix leather jacket at points, but then I was also listening to it on a run and some bits were great for that.

I enjoyed it quite a bit.

From alternative to alternative. Indie to indie. Little heavier and more rough than regular 90s indie. I like this!

Weird, but fun

Finally a band I've never heard of

Really cool, loved how prevalent the basses were. The guy's voice fits so well against the wall of bass. It's going in my rotation for sure.

Dual bass is a sound I didn't know I needed, and I REALLY like the way the vocals swim and breach through it. I've heard this band's name in passing but I knew next to nothing about them. Perhaps it's just nostalgia, but lately I've been craving sounds of the 90s and it's a treat to hear something fresh to my ears with the exact flavor of post-hardcore that I enjoy. "In Like Flynn" is a very strong start and I can practically see the snowboard halfpipe compilation forming behind my eyes with "Rockets Are Red." "Satin Down" comes at the right moment for some darker moodiness before it shifts back into gear for "Let Me Come Back." I am a complete sucker for mood transitions, and this album delivers that excellently without sacrificing momentum until the final downtempo "Bughouse" sendoff. I think I might need this on CD, like, right now.

Pretty good 👍

when I saw that all the tracks were like 10K listens I was like here goes another throw away album of the day. Was surprised how much I enjoyed it.

Yeah I dig this. Moody post-punk played in a sort of noisy, lurching style. It’s a little muffled, production-wise, and maybe that’s why it’s not knocking me over the way it could and should, but the songs and sound and energy are cool.

Very nice

Angry growling and timeless. And so up my street. Great production and very engaging listen.

I am far from an *out and out* noise merchant but for whatever intangible reason this is definately my kind of noise. Could see the aforementioned Fall influence on the lyrics, as well as it's own influence on some of the British banda around the same time - Blur, Elastica..

Genuinely a fun and interesting record. It's desert rock adjacent at points, with sound so thick it feels like a fog. Tracks like Bughouse really like to play with the soft/hard dynamic, which I can be a sucker for. I had a good time.

8/10 Pretty solid album. Punk rock album with a pretty noisy sound.

Apparently this is post-hardcore, a subgenre I don't think I've ever really explored. This was good. It was nice to have something different on the list, and that bass tone is great. 3.5/5.0: Very Good

i enjoyed this one. alot of the tracks had a similar sound to the point where they kinda blended together but i never found myself waiting for this to end

7/10 It’s always nice to be exposed to a band that you have literally never heard of before, and it was interesting to see this categorised as ‘post-hardcore’, which was not a genre that I’d consciously listened too either. Weirdly, it was also categorised as indie, which on first listen seemed pretty bizarre. There are elements in here of Sonic Youth, Pixies and My Bloody Valentine, but it also had pretty big echoes of early Seattle grunge bands like Tad and The Melvins, which is right in my wheelhouse. What I liked most about this was the grimy, hypnotic nature of it. It was one of those records that you could let wash over you tonally and settle into the persistent, throbbing pulse of each track. Yes, it was quite repetitive in places, but that actually helped it to bed into this filthy soundscape that was almost like an ambient record in the way that it shifted and buried its way under my skin. Only at the same time, it’s about as far away from ambient as it’s possible to be. It’s noisy, with driving bass and drums that punch it along yet somehow add to that hypnotic vibe. I quite liked that the vocals sat further back in the mix, so they became more a part of the sound blend as a whole, rather than dominating as would be more typical in popular music genres. It was a bit creepy in places, sludgy and dark in others, but it had this overall vibe of a grotty squat house where everyone is nodding out, having a breakdown or both. It’s kind of a bit like the audio equivalent of Kathe Koja, whose writing always puts me in mind of a very 90s, grungy art scene, not always through the content, but through the style of her writing. I did feel it lost its way a little towards the end, when it shifted a little further away from that punchy, grimy mess of sound, but other than that I found this to be an evocative and sonically interesting album by a band that I’m keen to hear more from. In Like Flynn - There’s a good bit of punch to the production here and the tone isn’t bad. It’s grimy and grotty with a bit of a hypnotic persistence to it. Fundamentally, it’s an incredibly simple composition that lacks much in the way of variety, but there’s something about the vibe that helps it to stay engaging. Not sure how that’ll last over the course of a full album though. Go Be Delighted - It almost feels like we’ve transitioned into a different section of the first song, so similar is the vibe and pacing. Again, I’m getting quite into the hypnotic feel of it and there is a bit of extra tonal flavour from the use of backing vocals. I think there’s a bit more of a hooky element to the chorus here too. Rockets Are Red - I actually quite like the groove to this. The wash of distorted tones is given a solid drive from the bass and drums. It’s kind of like somewhere between Sonic Youth and White Zombie in a way. The vocals aren’t prominent and it’s more about the wash of tone driving away at you. It’s almost like listening to the structure of ambient music pushed through the prism of hardcore. It could probably do with a little more experimentation and variation, but it’s an interesting sound. Satin Down - Now that the vocals are more prominent, they are less effective and this sounds like a weak version of something the Pixies were doing, without the same level of creativity and weirdness. It’s also too plodding and loses some of the production wash that held the earlier tracks together. There are some promising elements in there, but it’s just not quite blended together completely effectively. Let Me Come Back - The pace is back again and this has solid drive to it. It’s a good central riff and it develops reasonably well too. It’s persistent with an edge of harshness, but it’s the bass and drums that really give this its kick. Again, the gritty, grubby vibe is pretty enjoyable, even if the songwriting is a little limited. Learned It - This reminds me a little of Nirvana in their heavier and grimier material, particularly during the chorus. It’s another pretty compelling rhythm and the sonic blend is crunchy and heavy, and it really packs a punch in the production. It leans towards something a bit more melodic too, which was a nice change up. Get Down - A slow burner now with some cool feedback tones shimmering away under the surface. It’s a rolling, saturated soundscape that lets elements of harmony drift out from the noise and is another fairly entrancing blend of pulsing tones. It loses its thread for a short while towards the end, but it gathers things back up again well. Bullet Proof Cupid - A decent riff. It’s very persistent in pace again, but I think that that’s where some of the joy of this sits. It’s got punch, but still has that wash of noise and dirt that makes it lean almost towards My Bloody Valentine in some respects too, but with perhaps a more traditional structure underpinning it. It drifts away and punches back in again nicely too. I’m kind of surprised that the repetition doesn’t annoy me, but somehow I quite like it. Who knows? Seven Seas - This leans a bit more towards indie in places weirdly, and because of that more traditional song structure, it loses a bit of its charm. It feels like they’ve decided they want to be more melodic here for some reason, but it doesn’t really work. There are bits in here that I like, but it doesn’t manage to maintain the pulsing grit of the more mesmeric tracks. Billy's One Stop - This is a bit better than the last one, but again, it feels like they’re resorting to a more rigid and obvious song structure rather than fully committing to the heavy ambience of what came before. I think it’s partly the more aggressive vocals, but the guitars are also a bit more forward and it starts to make them sound a bit less interesting. Bug House - This drifts back more towards the Pixies-esque sound that they approached earlier on. It’s got an edge of weirdness along with that gritty tone that swells over the more aggressive vocal, before drifting into something more melodic, but still with that slight creepiness to the delivery. It’s a slightly odd blend, but I think it works better than if the vocal had been more prominent. It’s quite a nice, restrained way to round out the record.

Another “where have you been all my life” album. Similar to a lot of 90s indie rock but being from the Discord Extended Family has a bit more bite and organization than say, Jesus Lizard, Dinosaur Jr, etc. Not very novel or catchy, but that’s not what’s needed from music like this. Emotional power and a touch of fury. Girls Against Boys ride the last wave of pre-Napster heavy rock.

Enjoyed it. Standout songs: Go be delighted Satin Down Bullet proof cupid

I see the name and I think, this is going to sound like Blur. 1song in and I’m wrong. Also, as sisal, I’m not correcting spelling mistakes. I’m in one of those moods again. Figure out what I mean to say. This sounds more like the Gutter Twins though I’m pretty sure those roles should be reversed. This is Dinosaur Jr territory. Sort of sludgy guitar, sort of holding the smoke in your lungs singing. I’m surprised based on what these guy look like. Two dweebs in my opinion. I thought they would sound more like the Proclaimers based on that. This is decent. It will have me seeking out more from them but but BUT there isn’t anything great. I’m not blown away, by even one song. Now, if we are to say that the intention of this album was to not be commercial I ally successful, then by gawd they did it. No hate, as I said. I like it still. Worth a listen for sure.

Crunchy, fuzzy and yet with interesting melodies, this was destined to be underrated and yet, undeniably magnetic to anyone who dared to listen.

Groupe inconnu. Rock un peu original, avec un son massif, des sonorités parfois dissonantes et quelques audaces harmoniques. Les morceaux plus longs sont suffisamment variés pour être intéressants. Je le ré-écouterais avec plaisir ! =>3.5/5 arrondi à 4, c'est un album bien plus intéressant que la majorité de ceux que j'ai subi cette dernière semaine ...

I really like this band. I have two of their albums and I used to listen to them frequently. I’m not sure why I have never been exposed to this one but it rocks. The Black Album can suck it.

I don't agree with a lot of the bad comments here, I actually liked this one! Pretty decent songs, would listen again 4 ⭐️

I quite enjoyed this one. Not exactly sure why but had a lot of the grungy sounds and feel I like from that era.

Never heard of this band before. Really energetic and good, this is the stuff that makes the list worthwhile (instead of getting another Radiohead album).

I hadn’t heard this before. I really liked it. There were some great songs on here. I would like to give this a deeper listen.

2026.01.18.

I don't really know what this is but it rocks pretty hard and I like it a lot.

Surprising good 80s rocker

the pitch is post hardcore taken to places of Flesh and Sex not typical for it, which is interesting enough (at least to me) that even a sub part execution prob would have been of interest...noisy, timbral music has always felt a bit more Carnal to me then more stereotypically "sexy" genres. its prob not an Amazing execution but its definitely very good...songs are hypnotic and heavy, scott mccloud's (presumably not the comics guy) voice is full of sleaze but doesnt feel like its trying to hard to get there, and for all the noise rock stylings it doesnt feel like its trying to actually Hurt Your Ears necessarily...i suppose they would if they were real freaks, but im all chills and fatigue today so i appreciate them letting me off easy. listened to a lot of this while semi-deliriously lying in bed and it was a nice thing to focus on tbh!!!

Als ik de stream-aantallen zie, die niet heilig zijn maar toch wel iets zeggen, vraag ik me weer af waarom dit in deze lijst terecht is gekomen. Het goede nieuws voor mij is dat ik dit wel heel goed kan hebben. Sterker nog, ik heb dit een stuk liever aanstaan dan (ik noem een) Tina Turner die vandaag onthuld werd. Gelukkig heb ik een klein achterstandje qua huiswerk en mag ik nu nog even hier naar luisteren voordat ik die cirkel van de hel binnen stap. Moet je deze gehoord hebben? Neen. Pak ik hem met beide handen aan en zeg ik netjes dankjewel tegen oom Robert? Zeker. Ik geef dit ietwat makkelijk een 4.

very interesting, I think some of the guys from Fugazi played on this, and I guess its a similar time and style. I quite like this era where bands still definitely inhibited the same 'punk sensibilities' more so in attitude but made a lot of vastly interesting music. Quite a lot of this stuff is really dynamic, which I think a lot of these bands also shared. Its also quite slow in general. I'm not sure I really like the singer that much, he seems to mumble quite a lot, but the guitars and stuff are really interesting, there's a lot of tone changes and stuff which make it interesting. There's a few more shoegaze type guitar sounds. I feel like its overall pretty middle of the road, but probably towards good rather than bad, there are for sure better bands, but are most definitely worse. Favourite songs: all but satin down and bughouse. Overall around 7/10

Really good album. Will definitely check out more from them

I knew this band name but not the band. Similar to Hot Snakes and Drive Like Jehu but not quite as good I thought. Catchy as hell and fun though.

I like it a lot. It almost got a 5 from me, but ran a little long.

As a 90s music survivor, I'm surprised by this one. It sounds way less copycat than SO many of the releases around this time that were trying to cash in on the "Seattle Sound" that was dominating the airwaves. Hearing the actual musical talent here along with the sound makes me appreciate this one way more than I was expecting going into it.

honestly this was awesome and i like most pigfuck music, kinda surprised it was on this list!

Nice, heavy music. A little bit hardcore, a little bit grunge, a little bit post-punk. There are a few meandering, slow-ish songs, but aside from those, this is pretty sick. When these guys rip, they fuckin rip! This makes me want to go to a loud, noisy punk show. Side note: I don’t like the band name, I don’t like the album name, and the album art is pretty bad… but I really like the music.

Wish more albums were like this. Powerful, energetic, fresh. The track listing was great, and I think there was not a bad song in there. Missed some lyrics here and there because of the effects, but that almost added to the atmosphere.

Had never heard this before. Really great stuff

i like the transition between a slower song of satin down into the fast tempo let me come back, nice play on words

Nah this shit sick

Punk.

Chuffed to see these on the list! I saw them at a festival when they reformed years ago without knowing much about them other than their reputation. They were insanely good, but I never got round to properly checking them out beyond one of their other records. Cruise Yourself I think. I thought then the same as I do now: for me, each song by these starts off ok, nothing special, but then grows into something great. I think I prefer, from memory; the other record I’m more familiar with, but perhaps I should follow my own advice and be more patient! This record is more like a patient Jesus Lizard or along the lines of Lungfish. Like if Jesus Lizard members all got more regular jobs with stable income, I think you’d get GAB

Never heard of these guys before....Thought this was really good, very early 90s sounding, but that's ok! Maybe a bit like pavement? 4 I reckon, will give it another listen

Uhm, I'm a fan of Grunge now I guess.

This was great, I'd never heard it before. So good I'm giving it a second run.

Sometimes you just like the sound.

Venus Luxure No. 1 offers up a taste of the future with bold, raw, garage sounds. This music feels like it would be more at home with the garage rock revival in the early and mid oughts than it does wedge into '93 in the midst of the grunge supremacy. Unlike some of the alternative rock contemporaries, like Nirvana, Smashing Pumpkins, Pearl Jam, Girls Against Boys doesn't really have the marks of those popular alternative styles. They don't have the slacker drone of Nirvana, the pure Rock sound of Pearl Jam, or the crunch smooth melodies of the Pumpkins. Instead, this project has darker undertones, and reminds one more of indie rock that would come nearly a decade later. Oddly, some of the instrumentality reminds one of something like PJ Harvey's Rid of Me, or even a lighter version of the Melvin's Houdini. Songs like "Go Be Delighted" delve into a more indie drone, while others like "Let Me Come Back" pulse with fast paced rock. More experimental pieces like "Bughouse" showcase Girls Against Boys willing to take more risks with their music. All in all, an enjoyable listen. All said and done, pretty interesting music, and a missing link type precursor to what would come much later.

Alternative industrial dreary

My kind of sound, never heard of this band before, palette cleanser after the too long inauthentic Christina Aguilera album

One time I walked four miles home, after seeing them play at Empty Bottle in Chicago. It was late, but it was a lovely night.

Very good 90's rock album that straddles post grunge into post hardcore.

They definitely went on to make a couple of records better than this one but I still like it. It's more of an overall vibe than a collection of distinctly great songs.

I disagree with this kind of stuff being written away as "noise rock." I think that music exists, and I don't think this is it. There's enough melody here for it to certainly qualify as something above "noise," and I think it leans closer to punk, or maybe metal. Which I fuck with. I feel particularly cool walking around listening to this album. Also because it's so niche. This is a win for me. Maybe I end up dropping this later, but for now it's a 4. Fave tracks: - In Like Flynn - Go Be Delighted - Rockets Are Red - Learned It - Get Down - 7 Seas - Billy's One Stop

Buzzing guitars, gritty doubled up bass riffs, hard hitting drums, guttural throaty vocals, all assembled with grinding aggresive production make this a bit of an assault on the sense. A bit like, but a lot more unsung than, the classic post-hardcore bands like Sonic Youth, Fugazi, Dino Jr, Husker Du etc, this is from a bit later, from the grunge/alt rock era, where this heavy distorted sound had all been a bit more normalized, and more melodic sensibilities had crept in to make the leap from the diy space to the radio. This album is still on the harsher, more aggressive, less accessible side of that spectrum though, leaning heavily into the scuzzy low end, the abrasive textures, and the violent dynamics - and it fucking rips. Very strange I'd never heard of this before... Favorites: Bughouse, Rockets are Red, Go Be Delighted

Decent-to-good I suppose.

Quite enjoyed the driving rhythm section and vocals that carry a hint of violence. Reminds me of one or two bands I enjoyed in the early 2000s.

I've never heard this band before maybe because i wasn't really into Post Hardcore,noisy Indie kind of stuff in the 90's.Quite unique sound i must confess that deferiates this band from the other 90's ones.The only thing that bothered me here were the vocals,i couldn't hear what the singer was singing most of the times,but maybe that was what they were aiming for. Songs breakdown: In Like Flynn,dark and agressive but beautiful with dual bass work,the vocals though can be hardly heard. Go Be Delighted,despite the title, this is dark as hell,marilyn manson vocals vibe here,noise Rock at it's best.I wish the backing vocals could be clearer here. Rockets Are Red,again the low but powerful vocal ruin the song for me at least at it's first part,It kinda gets better later on though.Agressive and interesting despite some monotone parts. Satin Down,slower, strangely doomed and beautiful,vocals are better shined here,the bass is moody and exceptional setting a creepy atmosphere at times,the drums are also great here. Let Me Come Back,highily energetic piece,something you would definately hear in a mosh pit momentum.Great basses and guitars. Learned It,great guitars from the beginning.the backing vocals have more interest than the main.This one sounds clearer than the rest.Great song. Get Down,despair since the beginning.Dark and otherwordly but creates an everlasting longing.the lyrics most of the time are like chanting. Bulletproof Cupid starts off with a powerfull guitar riff and builds slowly around it.Quite interesting sound fx reminded a bit of NIN.More like playing with the faders sort of thing.Some beeped swearing here as well. 7 Seas,nothing special here,a lot of a-has. Billy's One Stop,too noisy for my taste.Drums too damn loud in this one.Towards the end i liked it better though. Bughouse,starts beautifully,more quiet than the rest,great song to end this noisy album.nice vocals as well,like whispering in our ears,has some genius tention moment crafted without raising the tempo but goes back again ending in a quiet fashion. Overall is a good album,didn't fatigued my ears at all and is quite creative and unique.Never heard -so far-something like it before. 4/5

Killer music, but I couldn't get past the singer's voice. Personal issue. Otherwise, powerful and raw, and the singer gets less grating as the album goes on. Maybe I just got used to it.

Had never heard of this: buzzsaw guitars, raspy voice, very cool. Kind of like a rougher QOTSA.

I couldn't hear this album well in my car. I think it was pretty good. 90's grunge music. Good stuff.

Godo. Mi è piaciuto molto quest’album, atmosfere cupe, suoni grezzi e pesanti, un mix di rock alternativo e hardcore punk. Non conoscevo la band ma è stata una piacevole scoperta. 4,5/5

What a breath of fresh air here! Reminds me of a German band called Pelzig I really enjoy, and who were clearly influenced by this. There's urgency, pressure, tastefully played instruments avoiding any sort of cliché, and tunes, hooks and some catchy one-liners.

Ended up liking this one a lot. Not sure why it's on the list, but it was definitely suited to my tastes. Don't have many notes here. Overall: 3.6/5

Rating: 3.7 This was the exact album where I decided I wasn’t going to try as hard writing stuff, but let me say thank GOD I got to hear something different that is firmly removed from the “good” music meta. I never would have given this a fair shake if this list had not suggested it to me and it was kinda awesome.

This was good, the vocal style felt unique with super breathy strained style and the guitar riffs felt a little more interesting than typical grunge/rock of this era. I like this more than I expected and while not perfect I am glad I listened.

At first I liked it. Then it became too grating and boring and i was going to start skipping tracks and then it somehow drilled its way inside my head and the skipping didn't happen. I liked its dark depressive monotonous sound.

Nice start to indie sludgecore. I am more than happy to wallow in the mud. Maybe a little monotonous, but worth attending to when they pick it and go like Let Me Come Back or Billy's. It can be hypnotic.

I really liked this record. There's an eerie comfort and a confident writing style, matched perfectly by the performances. I'll admit, I was a little surprised that I connected to this the way I did.

I don't really like this genre, but this surprised me.

It’s a sludgy mess but it’s a sludgy mess that works for me. It reminds me of Fugazi but sloppier. Yea, it’s loud and moody but there’s some melody beneath the sludge. I’m sure a bunch of the critics here hated it but I enjoyed it. Bullet Proof Cupid and Rockets are Red were the standouts. 4 stars

The evil Sugar (in a good way). Full of absolute sludge that gets hurled into your ears (in a good way). It's got a heavy thick stamp of 90s sound (in a good way).

Heavy-ish but really freaking good!

A pretty good album, I liked Go Be Delighted, Let Me Come Back and Bullet Proof Cupid.

Well that was interesting.

This is generic post-hardcore ick from the early 1990s. Pretty shallow and probably won't reward relistens, but I found myself liking it quite a bit. I even ended up playing it through twice and found a few keepers. There's loads of other bands from this era with a similar sound, but this is quite solid, in that there's nothing that stands out as truly grating. Four stars, but only just.

Volvemos al ruedo con semana completa y con una banda que me es totalmente desconocida. Me recuerda a los sonidos de la primera época de Stone Temple Pilots pero sobre todo a Sonic Youth (Go Be Delighted es un muy buen ejemplo). Disco crudo, abrasivo, me viene ideal para estos momentos en lo que he vuelto a lo oscuro desde el consumo cultural. Muchas gracias por la recomendeta de este lindo disco. Hasta mañana

Great grunge that I’d never heard of before….

Venus Luxure No. 1 is a record for girls looking for any kind of balm for complicated times and a desire to act against the oppressive oligarchy of over-reaching and obnoxious boys. It makes one wish that there was a Part 2 so that we could all have something to learn from. Favorites: In Like Flynn, Rockets Are Red, Satin Down, Let Me Come Back, Get Down, Bullet Proof Cupid, Bughouse.

Hard hitting and unfiltered doom. Love ke so many other songs and albums i like without it feeling like a rip off

This is actually pretty great. Reminds me a lot of Fugazi, soundwise. Lots of energy and more complexity than your typical grunge era thing. sincere, not boring, brings the fuzz.

I don't know, man. I thought that I liked weird music because I used to listen to it a lot just for attention so I kind of learned to like it. But here I am, listening to Bealtes wannabes, blues and all the british punk bands that have ever existed, for more than two years now and my organism still rejects it. How do we come to love the things we love? Why do I feel this "ahh this sounds so much better than that shit from the other day"? Why do people compare this to Sonic Youth and I can't hear even the slightest resemblance? I might already be demented and not even realise this

It is a heavy record and a hidden gem from the grunge era of the mid-early 90s. It's heavy guitars and punchy drums makes it very noisy, intense, its lyrics puts it all together and it makes you numb until the record ends. Hard to miss when it comes, and enjoyable for any moment, pick any song and it comes to you when you least expect it. Will listen to this many more times.

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.

Bon, je ne connaissais pas le band, je ne connaissais pas le genre (post-hardcore, un sous-genre dans l’histoire de la musique punk), mais j’ai aimé l’écoute de cet album. J’aimerais m’y reprendre une au moins une autre fois, ce qui est bon signe.

Usually this kind of noise rock wouldn't be for me, but it's far more intricate and I think this is overlooked. I liked it from the first track. Nothing changed my mind, it continued to entertain me. It's dark and broody.

Like emo grunge and its good. Surprised and impressed. Not quite a 5 though. I could see it being a 5 for some though.

Flyder der ud af med til tider gode lydflader. Teksterne er noget vrøvl, men fint til en køretur hvor der også kunne snakkes imens.

Hvorfor har jeg aldrig hørt om dem her? Det var en vild oplevelse. Mega fed lyd. Tungt, vildt. Eneste anke er at vokalen ligger meget begravet i lyden. Det er næsten umuligt at høre hvad der synges.

I enjoyed this

Warning: driving whilst listening to this record my result in a speeding ticket!

Pretty harsh. Liked it a lot. It had a real hard hitting sound that grabbed me right away. The singer could have been better imo. But it just reminded me a bit of Cobain, which isn’t necessarily bad. Definitely a band I am going to come back to. Top tracks: “In Like Flynn,” “Rockets Are Red,” “Bullet Propf Cupid,” “7 Seas,” “Bughouse,”

Unlike the Icarus Line (also post hardcore), this is a strong 4. Also a thumpy bass but the heavy guitar and drums to go with it sound just right. Flawed vocals, but the raspy gnarls also fit the heavy sound. Surprised I'd never heard of them for a 90's band, but I dug the sound from the get go with In Like Flynn. Brendan Canty may have wanted Girls Against Boys to sound different than his other stuff, like Fugazi, but it has some overlap for sure - even though Canty was gone by this time. The album still has it's its own charms though. And while the album dipped from time to time, other favorites were Go Be Delighted, Let Me Come Back, Bullet Proof Cupid, and Billy's One Stop.

The good - cool 90s alternative sludgy grooves. The bad - a bit too much noise in the guitar sounds and the singer is too far back in the mix most of the time. Grooved to it, but it was a little much sometimes. I'd call it a 3.5 and I'll round it up because it definitely had me bopping. Favorite tracks: Go Be Delighted, Rockets are Red, Bulletproof Cupid.

This isn't anything earth shattering, but I don't think it's trying to be. I enjoyed the walls of sound, droning grooves, 90s goth club energy, and the fact that it didn't actually feel 'stuck' in the 90s, like a lot of 90s music sounds. They're a bridge from Fugazi to Interpol. Two bass guitars! I'm a fan.

90s indie rock. Sounds a bit like Manson. Rough and edgy. Noise rock well done.

New artist for me, really liked what I heard! Great mix of heavy, grungy, gritty rock. Will definitely be looking into their catalog

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

A sonically pretty dark post-hardcore album, which is usually not my thing, but this one managed to capture me with its satisfying rhythmic riffs and great drumming. Pretty much every song made me nod along to the rhythm, which is more than most albums can do. I really like when the drums are mixed so forward, especially when they're this good (Spiderland moment). I wish more rock records did that. Despite the sombre tone, this album still has a great deal of energy and is pretty engaging. I thought it was going to become stale after a while (which is what usually happens with dark post-hardcore, in my experience), but the atmosphere here was great and it stayed fun the whole time. This is a kind of record you put on high volume without much hesitation and enjoy the ride. I don't think there's a song that particularly stands out on this record. None of them are exceptional, but the average quality is very high.

The band and album were unknown to me until now. I liked it a lot. Clear, dirty rock. That was fun. I'll definitely listen to it again. 4/5

Another band that I've heard about for decades and finally heard for the first time. I liked it quite a bit, glad I finally broke the seal on GaB. 4/5

Enjoyed this one. This early post-hardcore style is interesting and it's neat to sorta connect the dots with the later sound. 3.5/5

Good but variable

Thoughts before listening: One of those bands that I used to hear about in music magazines and probably on shows like 120 Minutes, but I can't tell you any songs they released. This is 90s British alt rock I think, but I may be way off. Review: This is right up my alley. They're an American band so I was off there. I was expecting more of a Brit pop type of a sound here, but this is dense, heavily distorted, grungey alt rock. I can definitely dig this, and I'll add a few songs to my playlist. 4-stars

Always wanted to check them out. I liked it :)

What a nice surprise, this was fucking great.

Oretty depressive 🥂

Крепкая и забористая шутка. О чем песни не очень понял. Ближе к концу пластинки нарастает мрачность.

This was an interesting one for sure! I've heard of this came, but never listened to their music. It's very raw but with skill. I could definitely see myself listening to this one or more from this band again.

A hell of a good album. Muscular, brooding, rocking and really consistent from beginning to end. I had heard some from this band but no appreciation for their consistent song writing and epic soundscapes. Yup this is a band that I will explore. 4 stars

I liked this and I'm surprised its here. I like the heavy sound and dark atmosphere, the middle section of this is my favorite.

I've listened to some masterpiece albums, but very rarely does an album grab my attention as much as this. The bass feels like someone grabbing you by the collar and shaking you back and forth. The lead guitar almost feels like secondary to the drums and bass on this thing. It's a really unique take on post-harcore that avoids the genres trappings and but also its staples in equal measure so much so I hesitate to even call it that. I reference devil and God a lot in my reviews only cause it's a touchstone. Where it takes the staples of the genre and perfects them delicately tiptoeing around its cliches and traps and occasionally leaning into them. This album throws them out the window and you are left with something very unique and original. It's not perfect, a lot of duds and flat moments in what would otherwise be a belter of an album Stand outs are definitely, rockets are red, learned it, and bullet proof cupid Billy's one stop and bug house also deserve mentions 8/10

Przesłuchałem z raz czy dwa jakiś czas temu, chciałem chyba dać 3, ale słuchałem wtedy kilku albumów na raz i już nie pamiętałem, co jest co. Postanowiłem więc posłuchać jeszcze raz. I wtedy siadło dużo lepiej. Mega mi się podoba ten przduszony wokal i brudne brzmienie. Jak dla mnie tak powinien brzmieć album o dragach i degeneracji (looking at you Alice In Chains). "Satin Down" chef's kiss imo.

Oh come on guys, I actually liked this one. It for some reason reminded me of Nirvana's earlier work. Raw, messy, hard. I'm sorry it didn't fit your music standards.

Vocals are a little monotone/samey…but I’m pretty into it musically

4.4

looks cool kind of disappointed that this isn't a rad fem hardcore punk album, but this is still cool. very noisy and industrial, love it

Nice and gritty and dark.

I don't have a huge amount to say about this album, but I've listened to it twice now, and it fucking kicks ass, so what else do you really need to know 4/5

Great grindy bass that felt unlistenable when I got it but really feels unique and stands out in our "rockless" world currently.

3.5

This is #day143 of my #1001albumsyoumusthearbeforeyoudie challenge, and... here's to some post-hardcore classics. I was a bit surprised to see this album on the list, but the band's name did ring a bell. After a bit of thought, I remembered that Girls Against Boys made it onto Chino Moreno's list of his 13 favorite albums. Not only was it the band’s name that stuck with me, but this exact album was the one he picked. Now, I'm a huge fan of Chino Moreno, both as the frontman of Deftones and in his various side projects, and I really admire his taste in music. So, I had a bit of a bias going in, expecting to enjoy this more than I might have. I'm comfortable with this style of rock, especially knowing how much Deftones were influenced by it. Plus, I've always appreciated the alternative scenes of the '90s. As for the album itself, my highlights were tracks like "Learned It" and "Bullet Proof Cupid," along with a few others. There's this cool, riff-driven sound that isn't always associated with post-hardcore, and it was a fun surprise. Also, I can't overlook the raspy vocals and the delivery from the singer... there's a raw intensity there that stands out. Overall, I’d rate this a 4 out of 5 (I think it's a bit too niche to be on the list of albums you must hear before you die. That said, it's definitely worth a listen, especially if you're into 90s alt-rock and exploring the scene. This is a 4 out of 5. Looking forward to #day144.

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 was bamboozled when I heard the songs and learned that it wasn't a feminist riot grrl pop punk but instead a bunch of middle age sounding dudes singing a wooshy version of Creed. But oh boy do the wooshy version of Creed slap hard. I wonder why they named themselves "Girls Against Boys". AND I also wonder why did they pick such a pretentious shitty name. AND AND I also wonder how did they look at that abomination of a cover art and thought, yeah that will do. Thank God it doesn't sound as bad as it looks.

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.

Solid grunge-esque album, good thing I was wearing my nirvana jumper today and was in the mood for something like this.

### **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.

Venus Luxure No. 1 Baby is a good post/indie rock album. It stands out as differing from the other 1990s indie rock bands having a darker sound and more aggression. It's the event in the shady bar in the wrong part of town.

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.

I had never heard of them before, but I was hooked from the first few bars…somehow. Like a filthy and dark version of Sugar, slower, heavier. I actually listened to it three times in a row. Another one of those “how did I not know about this” albums. Albeit, admittedly this is not for everyone’s taste.

Really good grunge. Took me a few songs to get into it but the 90s sound with the growling vocals worked well together.

This is going into rotation

This is an angsty and left-turn filled 90s album that’ll have anyone screaming along in minutes. The vocals are raw and powerful, the instrumentation is half sample filled and half raw talent from guitars, basses and drums, and the lyrics are sardonic and perfectly executed. This album deserves a 4.4/5 or 88/100.

Great LP, will be getting some more playtime!

Honestly, just throw post into any genre type and it seems like I like it. Will I listen to again: 70%

This sound somehow more authentic than so many other bands.

- positiv überrascht - kaum gehört bei Spotify - "Learned it" fand ich richtig nice - Insgesamt sehr hörbare Mucke!

A really good GVSB album - first album in the sequence: Venus Luxure No1 Baby - Cruise Yourself - House of GVSB, basically, the same album repeated three times - could also be due to their distinctive guitar sound... In any case, I like Cruise Yourself a little more than the others (4-5-4).

I liked this: great repetitive sound.

As kirsten would say about a bar “this is a place molly would like”

Era l'época. Anys de glòria del rock alternatiu, que gairebé era més mainstream que el comercial. Sonic Youth eren, és clar, influència indispensable en aquell moment, i Girls Against Boys es van demostrar com uns dels alumnes més aventatjats. La distorsió, el feedback i les capes de guitarres, combinades amb bon sentit amb la melodia i trobant sempre el camí del format cançó. No era fàcil i la gran majoria de bandes van oblidar que calia talent per portar a bon port aquest so. No va ser el cas d'aquests novaiorquesos, que mai van arribar a esclatar i la llum dels quals va durar poc... però el disc és un molt bon testimoni d'uns anys fantàstics

Creative rock

Very QotSA-esque

sounds like smashing pumpkins but actually good

Weak sometimes, but in general i dig that

Good hard alternative rock - love the drums - not much to write home about but I’d definitely like to revisit.

Really good, had some bangers, energetic rock, can't ask for much more. (75%)

The lightest of fours.. has a few good tracks later on in the album, I like the grungey rock kinda sound

Def rocks, pretty nondescript

Not a bad hard rock album

Never heard of this band. Good listen, will listen again.

An album on this list finally straight up my alley. Proto-post-hardcore from the 90s. Solid stuff.

That opening bass hit is great. Unique sound focused in the bass end. A good mix between punk/alternative/almost metal.

Sombre, mais pas lourd. M'a fait penser à Tool parfois, un groupe que je découvre et que j'ai envie d'écouter plus

Overall liked this album. The sound reminds me of Kyuss or early Queens of the Stone Age - which is a sound I really vibe with. Definite re-listen.

Lovely stuff

Unexpectedly delightful. I love that this list introduces me to things like this that I kind of know exist but have never dived into. Fave track for now: Learned It

I have no idea why I didn't hear this back in 1993. This is very much in the vein of what I was seeking out. The raw analogue power of the presentation. No-nonsense rock that performs at its full capacity. If you ever hear about an act whose performance feels "honest", this band fits the bill – Like how you can hear the edges of all the complex emotions that Tom Waits brings to his performance? I understand that there is always studio magic going on here, but this album captures that ineffable quality of performers giving you what they have. It almost has a "one take" quality, as if the musicians are playing simultaneously in the same space for a work that feels organic, whole, and sincere. I can easily see myself sitting on the dubious couch in the corner of their rehearsal room listening to my friends while I get my calculus homework sorted for university. This album takes me to a time when I had big feelings and big plans.

Heel vet! Er zijn 2 andere plaatjes van Girls Against Boys die ik beter ken, maar deze is ook te gek!

Eindelijk weer eens een album wat ik nog niet kende maar wat me positief verraste! Ik ken een ander album van deze band maar dit is ook lekker puntig en opzwepend.

Really enjoyable

Een paar fantastische nummers. En een paar middelmatig. Al bij al een goed album dus

Great song

No sé

It’s cool hardcore but it doesn’t stand alongside Fugazi.

Actually liked the album! I feel like this is a punkish or rockish goth genre. Great!

2.5 rounded up. Just about had enough about it.

I'm generally not a fan of noise rock albums that include a lot of slow, menacing songs, so I can appreciate an album like this that always has the pedal to the metal. Girls Against Boys are loud and fast, with constant riffs and snarling vocals. Over the course of an album though, that consistency can start to become a detriment, as the album is a bit one-note. Unlike a band like Shellac, the riffs aren't angular enough and the tones not harsh enough to really dig into you. "Learned It" is the one song with a guitar tone that's really dirty and piercing. The band also isn't as brutal as a band like the Jesus Lizard, settling into a zone that's heavy but not ferocious. It all adds up to an album that's fun to listen to, but without enough memorable moments or qualities to separate it from the pack.

2 chansons et t'as compris

I’m a little puzzled at this selection when House Of GVSB and Freak*on*ica are floating around out there. Good on GVSB for crawling their way out of the DC hardcore scene and having the good sense to relocate to NYC, expand their sound and make more interesting music, but this isn’t quite the peak of that experiment. It is a good jump from their first record, but not quite there. They peaked with the two aforementioned records and kind of just leveled off. Some bands just occupy a verse specific space in time and GVSB dodged grunge and ducked Nu Metal, but missed the Indie Rock train of the early 2000s and just fizzled out. They were a breath of fresh air for a couple of years. Some bands never get that. Hooray for GVSB! 3.4

Not bad

This is alright. Couple of tracks really grate on me, but there's a bunch of here that are real solid. "Learned it", "Satin Down"... solid songs. I think it has a stronger middle, starts a bit weak and ends a bit weak. Decent, though.

Cool tunes

Good

I loved the rhythm section of this album, the grooves were just buttery and thick. The songs themselves were pretty forgettable though.

another 90's postpunk output that isn't bad, but not needed

Discordant, angsty, grungy. Some parts were ok, some other parts were unmemorable. 3/5

Get Down with this album. Listen to this and Go Be Delighted.

Nice sound although a bit unimpressive? I still appreciate it though

623/1001 2026.05.27 🌕🌕🌕🌑🌑

Weinig girls voor een band die Girls against Boys heet. Jammer, was wel benieuwd naar een vrouwelijke noiserock post hardcore band. Want dat waren tags die ik meteen zag staan, en waar ik ook een beetje nerveus van werd. Ik bedoel Noise rock post hardcore... Dat klinkt nou niet echt als een gezellig middagje... Eeeeeeen dit is dus weer echt een Strepsil album voor mij. Instrumentaal klinkt het best wel prima, met hele dreigende gitaren en vooral bassen, maar de zang? Pfoe das niet best hoor. De zanger klinkt doorrookt, maar niet op de Johnny Cash op Hurt manier, meer op de "Jezus arme man geef m een lepeltje honing" manier. De instrumentale nummers/stukken vind ik dan ook echt heel vet, met de soms onheilspellende muziek. En als de zanger normaler zingt dan valt ie me ook alles mee. Daarom is het zo jammer dat dat niet of nauwelijks gebeurt. Dat past ook wel een beetje bij Noiserock als genre, en al helemaal bij post hardcore, maar toch is het ergens ook gewoon wel jammer dat dit blijkbaar het beste is wat deze band kon leveren. Mwah, uiteindelijk? Kon dit een stuk erger. Ga ik het ooit weer luisteren? Nee denk het niet, maar ik vond het zeker niet verschrikkelijk. Heb zelfs 2 als FAVO opgeslagen!! En ik zie dit absoluut werken in een Parrish Smith set, daar krijgen ze nog wel wat punten voor. FAVO: Let me come back, Bullet Proof Cupid,

High-end three, liked this more than expected given the ratings. Vocals are deliberately off putting so I get it but liked the sound. Bullet Proof Cupid the best

The missing link between T-Rex and the Red Hot Chilli Peppers — obviously influential on the latter. But snothing that I’d spin again in my own. A 3 for its influence.

1993 y es un álbum que suena a stoner, a Melvins. Es interesante, pero tampoco diría que revolucionario. Un estilo de música que me encanta, eso no lo puedo evitar. 6/10

2.9 2x while installing Kasa switches at Overlook

S'alright

Two bangers, and 9 turds of various sizes, smells, and states of decay.

Not bad.

One of the most difficult criticisms to write is that I don't like the vocalist. Bands don't typically exist by virtue of simply selecting the best vocalist. Usually, the vocalist is a central and essential part of what makes a band unique. So, to say that I like the music, production value, vide, etc., and sum up with the singers voice is uninteresting to me, makes it impossible for me to really assess. But, I like everything bot the vocalist.

Good album but it didn't make a huge impression on me. I wish I heard it in my 20s. I think I would have raved about it then.

Sounds like pretty standard 1993 music.

Pretty cohesive grungy metal sound. I think this album's significance comes from how they pulled all the pieces of the genre together into a week compared album.

Put this one on and kind of zoned out. Sounded pretty decent though.

Reminds me of the time I got tinnitus. Favorite track: "Bullet Proof Cupid"

it's ok I guess.

90s indie rock. The bad album name and ugly cover lowered my expectations, but it's an alright album. Maybe not list-worthy though.

I like it but wish the vocal tracks were louder.

Donker en depressief plaatje dit. Uitgebracht in peak Grunge-tijd maar klinkt meer als Sonic Youth of andere post-hardcore bands uit eind jaren 80 en jaren 90. Het is noisy met een lage praatzangstem. Wat me aanspreekt is dat het nergens zo noisy wordt dat je zin hebt om het volgende nummer door de drukken, wat ik bij andere noise/hardcore bands soms wel heb. Ik ben Venus Luxure No.1 Baby dus heerlijk doorgeluisterd en prima mee vermaakt. 7,5/10 Get Down Bullet Proof Cupid

alright

some decent tunes on this

3.5… this needs a 3.5

Curious choice for the book considering that, for instance, The Jesus Lizard does not make an appearance in here. No complaints on the quality of the music here although it does sort of all blur together after a point. But produced nicely!

Der er nogle bops på. Stor 3

På en eller anden måde meget i Nirvanas ånd, det er sgu noget rigtig larm det her!

3.5

I like post-hardcore generally, but this was a pretty lackluster version of the genre for me. Plenty of other stuff I would’ve put forward instead if I were picking the list.

Venus Luxure No. 1 Baby by Girls Against Boys was a good album overall. It’s closer to the kind of music I usually enjoy, which made it easier for me to get into. I liked the general sound and atmosphere, but I felt like it was missing a truly standout track that could fully grab my attention. It might be one of those albums that deserves a second listen to fully appreciate. Even so, my overall impression was positive and I enjoyed the experience.

I think it’s a 3, but I kinda liked it, honestly

Never heard this one before. It's quite heavy, and I like that. Good album.

One of the albums of all time. Can't even tell you what I liked and what I didn't and under normal circumstances would be a 2/5 under my precedents. That being said, I have a soft spot for 90's alt rock so some tracks did get saved, and that bumped it up a point.

Ok

Reminded me of RATM, it was fine

There’s a nice density to the sound, a kind of low-end heaviness that keeps things interesting. Still, it feels locked into its own lane, not really expanding outward.

6 - AVERAGE

The grungiest of grunge. I like it.

I seriously expected to hate this, but it was good.

Not bad

certain parts gave me marilyn manson vibes, others gave me nirvana vibes. good album!

I mostly enjoyed this. Guitars and vocals reminded me of Deftones, but with a punchier rhythm section. The only negative is the vocals; basically doing the Chino Moreno fuzzy talk/whisper singing thing, but without any ability to go beyond that at all. Some songs seemed to have a crescendo or a chorus section that demanded someone to start belting it out, but the singer here couldn’t do that (or at least wouldn’t). But some good music here, with the bass playing/lines being the star of the show.

I liked this one

I have a theory The author needed filler But this is a jam

this is an odd one. i don't really get why it's on the list? it doesn't seem to have charted at all anywhere and, having listened to it, its nothing musically incredible either imo. maybe it's intended as an example of early post-hardcore? but for a genre that started appearing in the late 80s, it's not even that early.... its not that there's nothing on offer here, "rockets are red", "satin down" and "bughouse" are all great, i especially enjoyed the growling guitars and vocals of those first two, but other than that the tracks all kind of mush together into a single ongoing texture. it's a good texture, and i liked listening to it, but it's not something i can fully lock in for. hell, ive already forgotten most of it and i only listened like half an hour ago. i guess overall its kind of just, fine? mostly just puzzling really. i could definitely mosh to it but afterwards i'd probably remember the smells of the pit better than the music itself. what a weird album.

Better than expected

This reminded me of marilyn manson. Which is interesting and maybe backwards to say, because this came first. I don't mind the style, but I'm also not excited by it.

Sounds like this band is on the verge of some sort of "sound" but I can't quite place it. So I assume this is on the list for influence rather than some sort of exceptional execution.

Different, ok

Nothing special.