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Most Helpful Customer Reviews
3 of 3 people found the following review helpful:
5.0 out of 5 stars
Nothing like punk music to dance to...,
By Ari Sass (New York, NY USA) - See all my reviews
This review is from: Love My Life Hate My Friends (Audio CD)
I think this is my favorite Gogogo record -- though the one on GSL (not listed here) is really incredible as well. There are just some songs on here that really make you want to do some rump shakin' and when you combine that with the totally far out punk vocal rants you have a winning record. Vocally it reminds me of Mark E. Smith of the Fall or John Lydon of PiL not because the singer sounds like them but because like those other cats, this guy has a truly unique vocal style. Whiny and off tone yet wildly amusing.Oh and the bass lines -- catchy as all hell. Like those Gang of Four bass lines. Anyway, get this now then see them live then die happy.
3 of 3 people found the following review helpful:
5.0 out of 5 stars
Know-wave for those with a clue.,
By A Customer
This review is from: Love My Life Hate My Friends (Audio CD)
Music fans making music sometimes ends up sounding trite and hollow. The knowledge base this group has shows in the results, but not too much to sound like a bad imitation of their idols. You might notice a touch of Gang of Four, Wire or The Pop Group, but you won't think they're doing covers either.
5.0 out of 5 stars
Love This Album...Love GoGoGo,
This review is from: Love My Life Hate My Friends (Audio CD)
San Diego, CA's GoGoGo Airheart began writing in 1996 at the hands of core members Mike Vermillion and Ashish Vyas. After two years of relentless basement rehearsals and a string of homemade cassettes, GGGAH were picked up by local indie label, Vinyl Communication. Augmented by drummer Andy Robillard and violinist Teri Hoefer, the group recorded their self-titled debut LP in 1997.
1998's superb "Love My Life, Hate My Friends" LP emerged to meet the group's increasing word of mouth popularity. "Love My Life" finds GGGAH in darker spirits, a hybrid of late-seventies post-punk (The Pop Group and Public Image Ltd. in particular) and homegrown American art-rock (Pere Ubu, Rocket From The Tombs) are channeled through Vyas' mutated funk bass lines, Hoefer's twisted yet sublime saw-like violin and Vermillion's intensely oblique and personal lyrics. The blueprint record for all other GGGAH releases, the quintessential early period experimental featuring instant composition balanced with pre-composed songs ranging from Clash-like garage rock to Krautrock-inspired Latin and Dub Psychedelic. An excellent, excellent album, without a doubt.
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