GoGoGo Airheart

San Diego, CAs 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. Combining virulent dub inflected rhythms, spasms of skittish, wirey guitar and Vermillions signature breathless vocals, GoGoGo Airheart stands as a distinct blueprint of post-punks progressive ideals and dub reggaes elastic studio wizardry (due largely to experimental producer/ collaborator, Spacewurm).

Following shortly thereafter, 1998s superb Love My Life, Hate My Friends LP emerged to meet the groups 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, Hoefers twisted yet sublime saw-like violin and Vermillions intensely oblique and personal lyrics. 1999 caught GGGAH at a crucial point; both with Touch & Go subsidiary Overcoat releasing the highly regarded The Things We Need EP to significant critical acclaim and boasting the introduction of guitarist Ben White and temporary drummer Jimmy LaValle (Tristeza/The Album Leaf) in wake of the departure of Hoefer and Robillard. Presenting a subtle nod to the early-70s glam rockers Roxy Music and the skewed art pop of Brian Eno, The Things We Need stands as an eclectic portend of future recordings.

Soon thereafter the group turned the tables with another unique release, this time for West Coast indie, Sympathy For The Record Industry, a split album with Los Cincos side project The Syncopation. The krautrock influenced jam, The Beauty of Appetite and the prickly pop of Teri and Julie marked GGGAH as cultural auteurs, bearing their varied influences with virtually every new release.

With consistently favorable national press, rabid college airplay and daringly original material GGGAH were picked up by the estimable So-Cal indie, GSL. The third LP, also self-titled, showcases a striking version of The Pop Groups Trap and further provides the groups trademark hyperactive mettle. A more streamlined affair, GGGAH comes across as the bands punk record, though acutely subversive and deeply textured. Vyas contributes vocal duties for The Prince and Glad To See You, while Whites ominous organ bolsters Vermillions haunting Peter Laughner-esque guitar lines with drummer Jay Hough suitably complimenting the trio.

After a superlative 45 single, the dance-punk homage Real Live Kill/Ripe From The Vine, GGGAH unleashed their most revered LP to date. 2002s Exit The UXA combines the diverse territories of disco, post-punk and the art-rock glam classicism of The Stooges in a stunning display of slippery funk bass lines, jagged guitar cuts, scathing vocals and polyrhythmic drumming. The completion of a successful European tour saw the departure of White and Hough pairing the group down once again to core members Vermillion and Vyas, and the return of Robillard on percussion.