Girls Against Boys to Release New EP, Tour

Girls Against Boys have announced plans to release their first new material in over a decade (the last of course being You Can’t Fight What You Can’t See on Jade Tree). On September 24, The Ghost List will be released digitally via Epitonic and on LP and CD by the band. Not only that, but GVSB will embark on tour featuring David Yow starting September 10th. Those dates are listed below. For now, check out the new track “60 Is Greater Than 15″ below.


Sept 10  Boston, MA @ Great Scott w Coliseum in support
Sept 11  New York, NY @ Bowery Ballroom w Coliseum in support
Sept 12 Philadelphia, PA @ Johnny Brenda’s w Coliseum in support
Sept 13 Washington, DC @ Black Cat (with special guest appearance by David Yow, Black Cat 20th anniversary party w Gray Matter, Ted Leo, and others* )

** ALL ABOVE SEPT DATES : special guest appearance by DAVID YOW)

Dec 01 ATP Cambersands, UK (End of an era curated by ATP and Loop
Dec 03 London, UK @ Electric Ballroom (w/ Superchunk)
Dec 06 Vienna, AT @ Arena
Dec 07 Zagreb, HR @ Mochvara
Dec 08 Prague, CZ @ Lucerna

More dates to be announced*

Girls Against Boys on Facebook

Girls Against Boys Announce Live Dates

Girls Against Boys have confirmed two live shows this fall – one in New York and one in Philadelphia, with more shows to be announced. Tickets go on sale Friday (4/26) at noon. The performances will mark GVSB’s first US shows in six years.

September 11th @ Bowery Ballroom (New York) [Tickets]
September 12th @ Johnny Brenda’s (Philadelphia) [Tickets]
September 13th @ TBA (Washington, DC)

In 2002, Jade Tree released You Can’t Fight What You Can’t See, the band’s sixth and last album to date.


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You Can’t Fight What You Can’t See

GVSB‘S first record in three years marks the anticipated return of one of America’s greatest rock bands with eleven songs that aggressively take their trademark thick, propulsive, pop opulence to a new level and refuse to let up. Sexy, abrasive, and compelling, the album marks a return to the rawness and focus of past work, but with a new finesse.

Johnny Temple – Bass
Alexis Fleisig – Drums
Eli Janney – Keyboards, Bass, Vocals
Scott McCloud – Vocals, Guitar

Recorded at Mission Sound, Brooklyn, NY December 2001.
Produced by Ted Nicoley
Engineered by Eli Janney and Geoff Sanofi
Mixed by Eli Janney
Pete deBoor – Assistant Engineer
Mastered by Alan Douches – West West Side, NJ

1. Basstation
2. All the Rage
3. 300 Looks for the Summer
4. Tweaker
5. Miami Skyline
6. Resonance
7. BFF
8. Kicking the Lights
9. One Perfect Thing
10. The Come Down
11. Let it Breathe


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GIRLS AGAINST BOYS will be playing two shows with all four original members.

All Tomorrow’s Parties presents a Don’t Look Back Concert featuring GIRLS AGAINST BOYS performing Venus Luxure No. 1 Baby in its entirety.

Friday, July 20 at Bowery Ballroom, NYC, showtime: 11PM
Sunday, July 22 at El Rey Theatre, LA, showtime: 9PM

Jade Tree released the band’s seventh album, in 2002. Both the LP and CD are now on sale in our store for $5 and $6 respectively.


Purchase on | Purchase on

Official GVSB web site:


The boys of umm, Girls Against Boys are, after remaining mostly off the radar the last few years, back out on the road again. Johnny, Scott and Alexis along with John Schmersal of Enon fame on bass, will be taking GVSB across the pond for a series of European shows. Beginning February 16th in London and ending 8 shows later in Istanbul – it promises to be a rawk explosion like no other – so if you are lucky enough to be European or if you have a private jet, go and see these shows; GVSB slay.

Please consult the Girls Against Boys for current dates.

Girls Against Boys – Stevie Chick Poses the Questions that Matter.

Alexis Fleisig, drummer in Girls Against Boys, leans across and whispers softly, seriously, “Scott has a lot of weird stuff in his brain.”

Scott McCloud, gravel-vocalled singer/guitarist, sits silently, innocently across the dinner-table, as Eli Janney, baby-faced/sexy bassist/keyboard-player, elaborates. “Last night, Scott and I were sharing a hotel room, and in the middle of the night he woke up midway through a bad dream and karate-kicked the hotel lamp. He thought it was a demon.” 

“And do you remember that night  he sleepwalked back from the bathroom and got in bed with Tom, our soundguy,” chuckles bassist Johnny Temple, “And when Tom told him to get out Scott started weeping, and saying ‘Baby, why are you being so mean to me? What did I do wrong?!" 

“I’ve been a sleepwalker since I was a little kid,” admits Scott, bashfully. “I’m used to it now, to waking up in the middle of the night in a hotel lobby. I don’t sleep in the buff anymore.”

“Scott’s brain is just so incredibly scrambled when he’s sleepwalking,” laughs Eli. “It’s really funny trying to talk to him, he has this really confused look on his face…”

Thoughtfully, in reply, Scott murmurs: “That’s not true… When dawn breaks, the facade of ‘reality’ descends once more. But at night, I’m seeing things clearly for the first time. And I’m seeing that you are all the evil ones.”

There’s a moment’s deadpan silence before Scott’s customarily-wicked grin returns. But truth be told, there is a lot of dark, crazy stuff running around Scott McCloud’s brain. It’s been far too long since he shared any of it with the world at large, but after three years in major-label limbo the band are about to return with a blistering, black-hearted new album. It’s called ‘You Can’t Fight What You Can’t See’, and we’re all gathered at Opal Devine’s, a down-home BBQ shack on the outskirts of Austin, Texas, to chew over its sleek, neon-lit malevolence, and the very real demons which stalk Girls Against Boys’ waking hours.
 “They were the dark days of our band, no question. Simply, we couldn’t do what we do: make music, put out records. We didn’t have a purpose.”

Eli sets out what was, until recently, the GvsB experience in stark terms. Signing to Geffen Records after the scuzzy midnight charms of underground classics ‘Venus Luxure No 1 Baby’, ‘Cruise Yourself’ and ‘House Of GvsB’ won them breathless critical acclaim, their muscular (if slightly overpolished) major-label debut ‘Freak*On*Ica’ hit the shelves in 1998, only moments before the Universal Records reshuffle saw countless great bands get absolutely shafted. Count GvsB among the worthy victims.

“We were halfway through a two and a half month tour with Garbage when we felt the cord get pulled,” remembers Johnny. “Quite literally. The phone just stopped ringing. And then everything fell apart; we changed management, tried to negotiate with a label that no longer existed, with label  people who kept changing all the time…”

“Basically, we recorded ‘Freak*On*Ica’, then everything went to Hell. Fastforward to new album,” grins Eli, but Scott’s not finished with the topic.

“What happened to us wasn’t unusual, it happened to a lot of bands. What was unusual was that the album actually got released.” He looks down at the table and grins to himself. “I figured out, the budget for ‘Freak*On*Ica’ was thirty times what we spent on the new record. We had less time, money, and so couldn’t over-analyse things, just treated it like a bunch of rock’n’roll songs. We didn’t have time to ‘Fuck The Flies’, as they say…”

Eli almost spits a mouthful of chicken-fried steak across the table. “’Fuck The Flies??!!’ Who says that? What does that mean?? I’m pretty interested in the etymology of that phrase right there…”

“It’s a French expression,” answers Scott, innocently. “It means ‘nit-picking’, y’know? Trying to fuck something as tiny as a fly, defeating yourself with negligible things.”

“That’s dark, man,” marvels Eli, unconvinced. “That’s pretty sexy.”

“Well, flies can be pretty sexy,” replies Scott, spying a buzzing gnat circling the table. “Unnhh, c’mere baby!”
Perhaps it was naive to think that a band as subtly menacing and complexly twisted as Girls Against Boys could ever have conquered the American mainstream. After all, their night-riding grooves both revelled in and satirically skewered the bright-light attractions and transient pleasures of modern consumerist society, as you might expect from a buncha DC punks and friends-of-Fugazi who were seduced by the Big rotten Apple.

“You live in New York, you’re familiar with the ‘Dark Side’,” says Alexis. “We all revel in it, that dark-rhythm-vibe is definitely a group thing.”

“We’ve always been entranced by the selling of a ‘lifestyle’,” explains Scott. “The heights you’ll go to, to attain that ‘lifestyle’, the late nights and the crazy shit… That’s the backdrop to everything for me. A lot of the attraction of New York is all the STUFF you can get. You start asking yourself, why am I attracted to all this STUFF? You start to realise all the, uh, ‘needs’ you have,” he adds, laughing darkly, “The ‘needs’ just keep piling up.”

“All the billboards and ad-speak you’re exposed to in NYC is insane,” adds Eli. “Every main street and intersection is plastered with propaganda. It seeps into the lyrics, you can hear it there.“

“It’s not that I don’t like it,” continues Scott. “I’m fascinated by it. It’s complex…”

“New York’s losing a lot of it’s character,” says Johnny, sadly. “The world’s getting so commercialised, so sterilised… The seedy, arty side of the city is being pushed to the periphery as this real Disney kinda mindset gets all the more pervasive. There’s Starbucks everywhere, Manhattan’s becoming like some giant shopping mall.”

So where do smart-sleazy degenerates like GvsB fit, in this sandblasted, superclean landscape?

“We’ve always been catering to an elite subset of the population,” laughs Johnny, but the band’s opinion on their own prospects is a little less jaundiced.

“I think noise is making a big comeback in the States,” chirps Eli. “I truly believe that, demographically, all the pop music kids are getting older, they wanna listen to ‘cool’ music.”

“They want something a little, uh, grittier than the Backstreet Boys,” grins Scott.

“Oh, I don’t know,” chuckles Eli, “The Backstreet Boys are pretty gritty. I mean, they are ‘Backstreet’, after all.”

He pushes his glasses up to the bridge of his nose. “It’s all about how it’s being sold. Shit like Rob Zombie’s not ‘pop music’, but it sells millions. What we play is rock’n’roll, even though we mess around with its boundaries. I think all the major labels that wanted to sign us thought, ‘These guys have got all the elements you need to put together a hit band’. But we demanded full creative freedom, so they couldn’t put the elements together the way they wanted to. That was one of the saving graces in the end, when they told us to write ‘hits’, we could tell them, ‘Our agreement was to make the music we wanna fuckin’ make’.”

Which leads us to today and ‘You Can’t Fight What You Can’t See’, where all the weird stuff in Scott McCloud’s brain runs rampant across a blur of subverted adspeak, lascivuous low-end grit, and neon-flecked, pulverising riffage. The time for sleepwalking and fly-fucking’s over: the artful deviants are facing up to the Disney sterilisation machine for one last tussle. What side you on?


Johnny, Scott and Alexis of GIRLS AGAINST BOYS are playing a bunch of shows with actress Gina Gershon in support of her new movie “Prey for Rock & Roll”. They will be playing all of her songs and possibly one or two of GVSB songs. Jade Tree has no idea what to expect, but it should certainly be interesting to say the least.

Please consult the Girls Against Boys for current dates.


Girls Against Boys are returning to Europe for the second time in a year in support of the almighty You Can’t Fight What You Can’t Win LP/CD (JT1074). European friends, don’t miss out on this exciting chance to see GVSB rock the joint!

Girls Against Boys video for "Basstation" has been played on the MTV2 program, 120 Minutes, and is scheduled to air again on November 4 on the same program at 12:00 am EST. Email in your requests for future plays by going to the link below:

Request "Basstation"
Please consult the Girls Against Boys for current dates.

Girls Against Boys [I]You Can’t Fight What You Can’t See[/I] Review

Girls Against Boys’ relocation from the late-Eighties Washington, D.C., punk scene to the New York of the Nineties made sense. The albums the band subsequently released on Touch & Go dripped with an urban-flavored sleaze: 1995′s Cruise Yourself and 1996′s House of GVSB smelled more of a city that never sleeps than of backroom deals on Embassy Row. But while the bigger city suited the band, a bigger label, Geffen, did not. In 1998, GVSB’s fifth album and major-label debut Freak*on*ica cruised right on by its potential audience–legions of postpunk devotees, ultra-sensitive to rock-star poses–like an anonymous limousine with tinted windows.

The band, dropped from Geffen when the label was bought by Seagram’s, has returned to the emo-indie Jade Tree nearly four years later with a sixth album, You Can’t Fight What You Can’t See. Singer/guitarist Scott McCloud is still a suave barfly, but this time he’s got vital critiques of every scene that passes for cool. Between chunks of noisy guitar genius on "All the Rage," McCloud sneers, "Pussycat, what’s new?" In the chorus he complains, "No one gave us a warning that your world was so boring" before the band calls for a "culture shock right now." It’s a scene assault of sorts, one that probably feeds on New York nightlife but still ripples all over the mainstream.

Throughout the album, McCloud brings some instantaneous hooks and striking choruses to GVSB’s powerful dirges without sacrificing the throb created by samplist/bassist Eli Janney, bassist Johnny Temple, and drummer Alexis Fleisig. The result is probably the most accessible yet potent record of the band’s career. Twelve-year-old GVSB have followed postpunk to an unrivaled conclusion: The band is cool and curious where so much current rock is patently ingratiating. All 11 tracks find the band distilling and intensifying its sound. In particular, GVSB produce an uncharacteristically soaring chorus on "Kicking the Lights" that owes something to the anthems of D.C. legends One Last Wish.

But it is cutting remarks that McCloud specializes in. "Basstation" combines white noise and dark dance grooves with hipster field notes like "everywhere cool is nothing new." On "300 Looks for Summer," McCloud (in blasé bad-boy guise) quips, "I don’t like Hollywood." At the end of the night, McCloud and Co. are like angry night owls hungry for something more than another after-hours scene. Somebody hail the rest of us a cab.


Girls Against Boys are doing a whirlwind of dates in both the states and Europe in support of the almighty You Can’[/b]t Fight What You Can’t Win (JT1074) LP/CD. GVSB will have the French Kicks along on a few US dates, followed by Radio 4 on the remainder of the US tour. GVSB sure knows how to rock the joint, so get out and shake your ass on the dance floor. You can check out some interview and live footage of GVSB in action at both and There’s also a bunch of new GVSB goodies available including the GVSB Roxy t-shirt (JTTS71) and sticker (JTST71) and the GVSB button (JTBT72). All items, including other GVSB merchandise is available at the E-Store.

Please consult the Girls Against Boys for current dates.


Girls Against Boys are headed out on the road in support of the devastating You Can’t Fight What You Can’t See (JT1074) LP/CD. GVSB will have the French Kicks along on a few dates, followed by Radio 4 on the remainder of the tour. GVSB sure knows how to rock the joint, so get out and shake your ass on the dance floor. You can check out some interview and live footage of GVSB in action at both Rolling Stone and

Please consult the Girls Against Boys for current dates.

Girls Against Boys [I]You Can’t Fight What You Can’t See[/I] Review

Basstastic. The perfect groove is far beside whatever drumloops you imagine. It is a syncopated straight beat, with internal shuffling and a pounding bass over that. Raspy voice and guitar-FX on top. That will boost your summer into a new phase. How many times can one repeat this formulae without getting boring? Well, GVSB proof that a many more times is possible than you might thought.

They are back. Definitely that is a good thing. Not that they have ever been away per se, but the last couple of records by Girls against boys never caught my attention due to the sublevel of artistic estrangement and incongruity. That is to say, they did stuff and moved in directions I didn’t give a damn about. Even the New Wet Kojak didn’t interest me so much. Yeah, maybe I have been fighting my own ghosts one way or another and that we drifted apart the same lengths, which doubled the space between us, but fact is, we come together again. Basstastic, I say. Song number two on “you can’t fight what you can’t see – all the rage” comes as a righteous déjà vu to me. Listen up: “hey pussycat, what’s new? What’s live? What’s dead? What’s making it wrong time wrong place? Locked in, locked out.” Describes the situation pretty well, but I glad we cleared it all up. But the question remains: what makes a record perfect for a certain situation? What makes a situation perfect? How do lives interact and thought find parallel way? Or the opposite? Is it all just a matter of accident and big numbers that make up the average?

Maybe it is all just about finding that one bass-riff, the drum-rhythm to fit and then some words to make the whole thing fly. You won’t be able to withhold the headpopping and swinging, because that groove is deadly. Imagine that coming through the fattest PA your city can offer, and then fly. Miami Skyline, Hollywood Hills, New York versus LA, it is all there for you to visit, embellish and devour. You know, it is a new world, and it has been made especially for you, to live in, and to enjoy. They even manage a slow song for you, a ballad (well it’s not a “ballad”) and it really fits, with all its glorious melody and understated guitar-noise in the background. If you are looking for amazement this summer, just go ahead, it is right there for you to take.

One more thing: you can’t fight what you hear or smell, either. A sound is there, you can never stop it. A smell is there, you can’t stop it. You can only fight the source of the smell or the noise, so indirectly you’ll get rid of the sound and the smell as well. The same goes for what you can’t smell or hear. Usually, most of the times, the things you have to fight the most, are the things you can’t hear, smell or see or touch, that are completely absent to your perceptive possibilities. That is, the thing you have to fight the most are ideas and structures. As with musical mainstream formulas, also ideologies and societal misconstructions effect and finally result into perceptible situations: poverty, racism, gangwars, TV soap operas, commerciality, shopping mall Santa Claus, and so on. The important thing is to remember is, the reason for the existence of these things is usually not the first thing that comes to your mind, because there is a whole chain of reasons and structures behind that. E.g. a backwards encrypted line of a possible argumentation of gangwars: gangwars > drugs> money > poverty > class-war > capitalism > money > ownership > history and so on and on and on and on. Even our society and history are one big syncopated riff of unbelievable dimensions.

So we all go looking for the one perfect thing. And that has to be small and easy, because we are comfy creatures.

Girls Against Boys [I]You Can’t Fight What You Can’t See[/I] Review

After breaking free from their major-label contract, Girls Against Boys jumped headfirst into the underground, signing with Jade Tree and enthusiastically working on their next release. You Can’t Fight What You Can’t See is the result of four years fighting with corporate types and watching the alternative music scene shift from punk-pop and electronica to rap-rock and overdramatic post-grunge. To say that they have something to prove would be an understatement, and this album delivers their impending reaction to their environment. Everything is still in place, from the funky drumming of Alexis Fleisig to the cool vocals of Scott McCloud. And when the band is feeling it, tracks like "Tweaker" throb with an intensity that only this lineup of musicians can possibly muster. But a little of the major-label sheen still lingers on this recording; take "Miami Skyline" as an example. The song sounds similar to a John Spencer track when it first starts, but the chorus is a shockingly catchy bit of William Reid worship that brings to mind the hook-laden Freak*on*ica. Although fans may complain about still maintaining that poppy aspect of their sound, they aren’t always successful at replicating the repetitive grind of their earlier albums. "300 Looks for the Summer" is a song that recalls their Tropic of Scorpio period, but is pretty boring overall. On the track, McCloud continually admits his disdain for Hollywood, yet his ugly moan lacks the passion it once delivered and the band seems to be going through the motions. They sound much more at home blending the techno pop of their last album with their earlier sound, which results in some satisfying songs but not a consistent album. "All the Rage" is probably the best track here, as it does the best job of reconciling the two approaches. But since their music is based on tension, this new approach deflates much of the usual pressure built by the band, making the eventual payoff nowhere near as exciting as it could be. They can really deliver some interesting songs when they travel even farther from both sounds, which is even more bizarre. "BFF" and "Kicking the Lights" are catchy rockers that recall Sonic Youth’s song structuring with the hooks of the Jesus & Mary Chain. The latter comparison is probably the most appropriate to Girls Against Boys, as they seem to be at the Honey’s Dead period in their career. Their last album was a technologically advanced and poppy effort that turned off many fans (much like Automatic), so they feel as though they should maintain some of their earlier sound despite their desire to move forward. And much like that album, this is a good effort from the band that has a few missteps but will probably smooth over many of the bumps caused by their last release. One can’t help but feel that this is still a transitional album in general, but at least they’ve overcome their Garbage fascination and seem to be delivering music more in tune with their attitude and style.

Girls Against Boys [I]You Can’t Fight What You Can’t See[/I] Review

The mid-’90s are experiencing a bit of a renaissance in 2002. Perhaps the enduring proliferation of slick teen-pop and toothless hip-hop has finally sent people scrambling back to more substantial, albeit noisier, times. So what better moment for Brooklyn’s quasi-hardcore heroes, Girls Against Boys, to reemerge? Leaving behind the ill-advised electronic ornaments of its previous major-label release, 1998′s Freak*on*ica, the quartet returns to its indie-rock roots, physically and spiritually, on You Can’t Fight What You Can’t See. It is the band’s most brutal album in ages, and the most fun, showcasing greasy riffs and joyously tilted rhythms on foundation-rattling tracks like "Kicking in the Lights" and "Miami Skyline." Dangerously exciting.


Girls Against Boys You Can’t Fight What You Can’t See (JT1074) LP/CD released today. You Can’t Fight What You Can’t See is the seventh album for Girls Against Boys, their first full length release for Jade Tree and their latest since 1998′s lauded Freak*on*ica (Geffen). The album’s stripped-down, bare-assed rock is as dark, abrasive, and strangely compelling as the band has ever been. Get hip to GVSB today!

MP3–Kicking The Lights


GVSB will be supporting the release of You Can’t Fight What You Can’t See with touring throughout 2002. It all starts in Australia before coming round to the states towards the fall.

Please consult the Girls Against Boys for current dates.


GVSB’s first studio album in three years marks the anticipated return of one of America’s greatest rock bands with eleven songs that aggressively take their trademark thick, propulsive, pop opulence to a new level and refuse to let up. Sexy, abrasive, and compelling, the album marks a return to the rawness and focus of past work, but with a new finesse.

Please consult the Girls Against Boys for current dates.

ROCK REVIEW; Post-Punk Pioneers, No Illusions

Most musicians chase the illusion of alchemy, the idea that the music they make can be more than the sum of its parts. Girls Against Boys, who played the Bowery Ballroom on Saturday night, seem too jaded to be taken in by this myth of transcendence. They make music that sounds exactly like the sum of its parts, adhering to a formula they helped invent more than a decade ago.

Central to that formula is an emphasis on rhythm over melody. Scott McCloud treats his guitar as a noise machine, flicking it on and off for texture and emphasis. For much of Saturday’s performance, the group used two bass players, which gave the music an added density. Mr. McCloud is also the group’s singer, and he often alternated sung phrases with instrumental stabs. That approach underscored the similarity between the words and the notes; his voice, halfway between a whine and a whisper, mimics his raspy guitar playing.

The show began with ”Park Avenue” from the 1998 album ”Freakonica.” The song hinted at dissolution and disillusionment, the group’s two favorite themes: Mr. McCloud asked, ”My idea of fun — can I burn with you?” Other lyrics were delivered with a thick layer of irony. When Mr. McCloud exclaimed, ”It’s great to be a rock ‘n’ roll star,” the audience was supposed to understand that it’s not, and he isn’t. Fans of the band might also hear a more specific resonance in those words: ”Freakonica” was released on the major record label Geffen in a failed bid for pop stardom; the group’s new album, its seventh, is due out this May on the independent label Jade Tree.

It is no surprise that the mannerisms of 1990′s post-punk quickly hardened into formula; that’s what happens when a musical movement becomes a genre. But Girls Against Boys have been at it so long that it’s hard to remember a time when their dense rhythms and jagged guitars and hoarse vocals and acerbic lyrics were something other than a set of generic conventions. The band isn’t to blame for any of this, of course, but does suffer because of it. In pop music, mortality and immortality are more or less the same thing: the only genres that live forever are those that have already died.

The opening bands had slightly different variations on similar styles. Enon sullied tuneful pop songs with deliberate dissonances that added tension to their steady rhythms. The group was at its best when the lead singer, John Schmersal, put down his guitar to wander the stage like a post-punk cabaret singer, microphone in hand. (More than once, he emphatically denied that his band had any connection to a certain disgraced corporation with a similar name.) Before Enon came Udet, playing noisy, complicated songs in which vocals seemed like an afterthought.

Published: 01 – 29 – 2002 , Late Edition – Final , Section E , Column 1 , Page 5


We are pleased to announce that we have added Brooklyn-based Girls Against
to the label. The as-of-yet untitled debut, will be the seventh album
for the band, their first full length release since 1998′s lauded
Freak*on*ica (Geffen). It will be released on May 14, and available for
pre-order on March 19.

The band is currently in the studio with producer Ted Nicely (Fugazi,
Shudder to Think, Jawbox) behind the board. This will be the fourth album
helmed by Nicely, who produced all of bands acclaimed GVSB’s Touch N Go
releases (House of GVSB (1996), Cruise Yourself (1994) and Venus Luxure #1
Baby (1993)). Tracking is being done at Mission Sound in Brooklyn — mixing
will be done at the band’s Williamsburg, NY studio. The 11-song album,
according to the band, will be "stripped-down, bare-assed rock — as dark,
abrasive, and strangely compelling as we’ve ever been".

Formed in 1990 from the ashes of legendary DC hardcore bands (most notably
Soulside), Girls Against Boys have released six albums on such varied labels
as Adult Swim, Touch & Go and Geffen, in addition to numerous singles & EPs.
They have also contributed to soundtracks for the movies: Clerks, Mallrats,
Permanent Midnight, Hedwig and the Angry Inch, Suburbia and 200 Cigarettes.
GVSB have toured the world extensively by themselves and with bands such as
Fugazi, the Jesus Lizard, Rage Against the Machine, Garbage, Hole and
Jawbox,, as well as appearing in such festivals as Lollapalooza, Reading,
Mt. Fuji and SXSW.

Girls Against Boys will be doing select dates over the Winter, and hitting
the road in March, which includes a performance at SXSW. The album release
will be supported by extensive touring, in the US and overseas, throughout