Amidst an overly clinical (the electronic kind) or melodramatic (the GYBE kind) post-rock climate, the Giddy Motors re-consolidated what rock music is all about. Thus the hellish growls and fragmented structure of "Magmanic" returned to the no-wave and the noise-rock of the 80's - if not the progressive-rock of the 70's. Indeed, the loose structure of the noir no-funk "Hit Car" was genuinely menacing and demented. "Bottle Opener" added brains to the recipe - with refracted reflections of lounge, an elliptical punk-funk footing, and warped electronics.
This trend continued in "Cranium Crux", essentially a noise-rock band playing trip-hop cocktail-lounge. Nevertheless, the noise spasm resurrected in "Sassy" - replete with insane growling and howling. Their noir side also reappeared in the complected thriller boogie "Dog Hands". "Venus Medallist" was another surprise, an elegant strings ballad that wouldn't sound out of place in a Rachel's album. "Whirled By Curses" was the most eloquent yet, whereas after a Slint-ian introduction it veers into a noise salsa, then into a Birthday Party-like noise-funk, then into a magnified noise anthem and so on.
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