~ Bratmobile
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~ Heavens to Betsy
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~ Le Tigre
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~ Bikini Kill
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~ Bikini Kill
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Product Description
CD Description
On their second album since reforming in 1999 (their third overall), Washington DC's Bratmobile continues to move outside of the "lo-fi Riot Grrl" box they'd been slotted into early in their career. Adding bass (by the Young Pioneers' Marty Violence) and keyboards (Mocket's Audrey Marrs) to their previously limited guitar-drums-voice format, GIRLS GET BUSY is brash and noisy, with a definite old school post-punk flavour.
"Shop For America", for example, has the thumping, kinetic stomp of an early Mekons or Au Pairs single. Lyrically, the song (alongside the equally timely "United We Don't") looks askance at the motivations behind post-September 11,2001 jingoism, excoriating the Bush administration's calls for consumers to erase the deficit by spending more money than they could afford. As is usually the case with political punk, the lyrics don't do much more than raise the question,but songs like this are a refreshing return to oppositionalpolitical dialogue after a period of cowed voices. Other highlights include the seething "Shut Your Face", about the disappearance of Washington intern Chandra Levy, and the ironically poppy "What's Wrong With You", which features the album's strongest chorus and hookiest melody in service of a rousing call to feminist arms. Guaranteed to infuriate anyone with right-wing political views, GIRLS GET BUSY is bracing political punk.
On their second album since reforming in 1999 (their third overall), Washington DC's Bratmobile continues to move outside of the "lo-fi Riot Grrl" box they'd been slotted into early in their career. Adding bass (by the Young Pioneers' Marty Violence) and keyboards (Mocket's Audrey Marrs) to their previously limited guitar-drums-voice format, GIRLS GET BUSY is brash and noisy, with a definite old school post-punk flavour.
"Shop For America", for example, has the thumping, kinetic stomp of an early Mekons or Au Pairs single. Lyrically, the song (alongside the equally timely "United We Don't") looks askance at the motivations behind post-September 11,2001 jingoism, excoriating the Bush administration's calls for consumers to erase the deficit by spending more money than they could afford. As is usually the case with political punk, the lyrics don't do much more than raise the question,but songs like this are a refreshing return to oppositionalpolitical dialogue after a period of cowed voices. Other highlights include the seething "Shut Your Face", about the disappearance of Washington intern Chandra Levy, and the ironically poppy "What's Wrong With You", which features the album's strongest chorus and hookiest melody in service of a rousing call to feminist arms. Guaranteed to infuriate anyone with right-wing political views, GIRLS GET BUSY is bracing political punk.
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