Even more bristly and blaring than Novelty, Bill Barbot's and J. Robbins' guitars are about as tingly as a jump into a cactus. Their interplay reaches a zenith on Sweetheart. Imagine two Andy Gills in Gang of Four, and you'll see what they're getting at. Though not quite as jagged and dry as Gill, the guitars employ a little distortion to slightly round the edges out. Producer Ted Nicely knew just what to do with the rhythm section -- Kim Coletta's bass is more prominent, and uber-drummer Barochas' complex tom shots run rampant. (He was more likely to emulate Jack DeJohnette than Topper Headon.)
Subject matter includes JG Ballard's Concrete Insland-inspired "Motorist," leaving Robbins wrecked in an ugly part of Chicago; "Savory" examines the objectification of the female species. Otherwise, you need your Jawbox decoder ring to decipher lyrical content. Sonically, the terrain is expansive. Though "Whitney Walks" is stuck at the end of the record, it's relative quietude deserves just as much attention as anything else. Otherwise it's a manic, thrilling ride, nothing short of brilliant. ~ Andy Kellman, All Music Guide
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