Recent Articles

Recent Articles by Eric Davidson

  • Remix Cleveland

    Girl Talk's a hit with L.A. hipsters, and our snowy little town helped him out.

  • The Black Swans

    With the Curtains and Talons. Friday, January 12, at the Beachland.

  • Nikki Sudden

    The Truth Doesn't Matter (Secretly Canadian)

  • River City Tanlines

    With These Arms Are Snakes, Mouth of the Architect, and Young Widows. Tuesday, October 24, at the Grog Shop.

  • Geisha Girls

    Disappearing Act (No. 3)

National Features >

  • Broward-Palm Beach New Times

    Sexual Healing

    For Florida's sole remaining sex surrogate, love is a many splintered thing.

    By Michael J. Mooney

  • City Pages

    Your Friendly Neighborhood War Profiteer

    It's not just giant companies cashing in on America's defense industry.

    By Jeff Severns Guntzel

  • The Pitch

    Supersizing Sonic

    How a throwaway idea at the Barkley ad agency became the "Sonic Guys."

    By Justin Kendall

  • Houston Press

    Temples of Tex-Mex

    A diner's guide to Texas's oldest Mexican restaurants.

    By Robb Walsh

Geisha Girls

Disappearing Act (No. 3)

By Eric Davidson

Published on September 27, 2006

If you still have a few hairs left that haven't been pulled out in irritation at the mention of yet another Cure/JoyDivision/Wire-groping combo, that comb-over will be flapping when you dig into these Killers-in-training.

Yes, they've got those '80s machinations we've been smacked upside the head with of late. But these sneering snots waste no time mugging those post-punk pillagers with scathing Ginsu guitars, neck-snapping rhythms, and jagged bridges that whiplash back into the verse.

Shawn Roberts' faux Brit accent is probably inevitable, given the music's roots, but he handles the cross-pollination with angry aplomb. Disappearing Act leans as much toward the Ruts' "Babylon Is Burning" as toward Pink Flag, but with more malicious intent. The Geisha Girls' perfectly/imperfectly coiffed art-wave is fueled more by the garage punk's fear of a rock-and-roll-less planet than by a burning desire to open for the Rapture.