:::PRESS:::

MEMBERSHIP
Current:
Bryan Baxter - Extra electric bass, vocals, random directions, bad nicknames & really bad years

Lance Pellegrini - Guitar, vocals, extra heavy amps and lifetime treble-rebel achievement award winner

Scott Twitchell - Multiple drum sets, drum carpets, Austin connections & debt consolidation

Absentee Members:
Mark Owen, aka James Martin, aka MAO, aka Chuck D: Drums, Vocals, White Lights, More Drums & Loading Diagrams (1998-2006)

HIGH RESOLUTION PHOTOS
Coming Soon

MP3s

	Days Like Razors full album preview
	The Situation Track 2 from "Days Like Razors"
	The Travel Agent Track 8 from "Days Like Razors"

	Fake Skyline Track 6 from "Get Destroy"
	Bee Brained Track 4 from "Get Destroy"

More tracks available at myspace.com/gps

VIDEO CLIPS
Click here

DISCOGRAPHY

Coming Soon

Infinite Future
Little Mafia CD EP. Release Pending

Days Like Razors
Ascetic Records CD AR020. March, 2008

Get Destroy
Ascetic Records CD AR014. Nov, 2005

Everything's Wrong
Little Mafia LM036" 10" Lathe Cut EP. July, 2004

Poison Rays of Sound
Ascetic Records CD AR010. Aug, 2003

The Long Trip Back to Where You Started...
TDA Sound Corp. TDA002 3" CD EP, 2000

Undecided as of Six Three Ninety Eight
TDA Sound Corp. TDA001 CD EP. 1998

Compilation, Video and TV Appearances:

When The Screaming Stops CD (Tribute to Naked Raygun)
ReleasePending. Tracks: Surf Combat & When The Screaming Stops

Blacklight Beauty DVD
Released July 2006. Tracks: Black Helicopter Undercurrent & Smash the Bass Player

Naked and Famous Vol. 1 DVD
Released April 2006. Track: Note To Girlfriend

Props Issue 59 DVD
Released Feb 2006. Track: What Can I Say

Sometimes Everybody's Local Comp CD
Released Sept 2005. Hurricane Katrina benefit. Track: Sixes and Ones

Hoffman Bikes- Euro Trip
DVD / VHS Released Oct 2005. Track: Do Damage

Lollipop Issue 64 Comp CD
Released Jan 2003. Track: Solvent

Copper Press Issue 18 Comp CD
ReleasedJan 2003. Track: Solvent

Copper Press Issue 17 Comp CD
Released Nov 2003. Track: Note to Girlfriend

Props Year End 2003 DVD
Released Jan 2003. Track: Solvent

Mat Hoffman's Crazy Freakin' Stunt Show DVD
Released Oct 2003. Track: Solvent

Hoffman Bikes- Testimony DVD / VHS
Released Aug 2002. Track: An Amateur's Guide to Sleeping Sickness + various ambient pieces

BANDS WE'VE PLAYED WITH
Melt Banana, Lightning Bolt, Magik Markers, Marnie Stern, The Coachwhips, U.S. Maple, Chinese Stars, Quintron, Vaz, Mono, USAISAMONSTER, Kites, Deerhoof, Enemymine, Jucifer, Uz Jsme Doma, Point Line Plane, Neptune, Thrones, Traindodge, Warhammer 48K, The Prids, Sicbay, Necronomitron, Sleepytime Gorilla Museum, Yeti, 400 Blows, Federation X, The Mermen, Riddle of Steel, Debris, The Robot Ate Me, The Cougars, Forty Minutes of Hell, U Can Unlearn Guitar, Snack Truck, Switchhitter, El Paso Hot Button, Cock E.S.P., Scared of Chaka, V9R9D, Pengo, Student Film, Archers of Loaf, Captured by Robots,

PRESS & REVIEWS

Get Destroy review from punknews.org
March 17th 2006
This might just be the most aptly named record Ive heard in quite some time now. Get Destroy is the name of that record, delivered to us by the Sonic Youth-inspired Gravity Propulsion System, only System are even more loud at times than their predecessors. Low on the vocals, heavy on the feedback, the trio of Bryan Baxter, Mark Owen, and Lance Pellegrini proceed to bend sound and create new noises for over half an hour, really stretching the mind on whats really acceptable as a song. They might not be quite as adventurous as their inspiration, but they sure as hell follow on the same set of tracks. The squalls of guitar and maelstrom of noise are awash in waves upon waves of reverb, sounding like ungodly things are being done to the guitar. There are no conventions followed whatsoever, no rules of whats acceptable and what should and shouldnt be done, just a complete, unbridled, free-form mess. No song illustrates this in a brighter light than the thirteen-minute album closer, Time Decay. The first two minutes or so consists of jagged rhythms and disjointed shouted vocal delivery, all over the fuzz-laden heavy distortion in the background. The vocals are loud, but tuned down in comparison with the guitar, drum, and bass, which are all firing with reckless abandon. After that two-minute mark is when things really start to become interesting. Led in by a thick, chunky bass-line and that continuous reverb, the guitar comes into a limited role to start with, eventually rejoined by some very distant sounding vocals, until around the eight-minute mark, where everything breaks loose, and all the instruments just meld together in this noisy, amorphous cluster in which nothing can be differentiated. Its the musical equivalent of mixing every single shade of paint together, only to end up with a uniform gray. The chaotic nonsense works well for the band though, and the sounds and volume only intensify as the duration furthers and the tunings drop, until reaching the frenzied apex at around 11 and a half minutes. Not every track has quite the entropic feel of the last, but sprinkled throughout you can find all of the elements that made those thirteen minutes so memorable. I hope Thurston Moore is out somewhere listening, because this record has done him and the rest of his band proud.

Get Destroy review from Flex Your Head
February 2nd 2006
The three Oklahoma natives that comprise Gravity Propulsion System have a firm handle on the kind of noisy punk that strikes hard and fast. On Get Destroy, there's a sense of uncontrollable entropy funneling through tracks like "Mouth" that are part Nirvana, part Sonic Youth, and part Black Flag, as volume knobs are ripped off and caution is far gone on the acidic bass-driven "Do Damage". Spastic, but never sloppy, Gravity Propulsion System knows how to build tension and utilize feedback to its full advantage, almost wielding guitar shrieks as secret weapons throughout. If you're clamoring for the days of '90s alternative rock with bark and bite, Get Destroy is an album you need to dig into. - Mike SOS.

Get Destroy review from Aiding & Abetting
November 2005
Surprisingly tuneful, even sprightly noise in the finest no wave tradition. Imagine U.S. Maple as a dance band and you might begin to get the idea.

Or maybe not. There's such an offhanded, loose-limbed feel to these bouncy songs that it is hard to believe they are as scraggly as they are. There aren't that many melodies, but the rhythm section throbs like mad.

An exceptional sort of racket. The production is surprisingly complex and subtle, weaving all sorts of noisy threads together into the songs here. At times, it is tempting to think what you hear is what you get, but often enough something else comes burrowing in behind. I like that.

Smashing. Simply smashing. I'll admit to being a big fan of noise with hooks--but hey, isn't everyone? Well, maybe not, but those of us crazy enough to enjoy this sound know that GPS has shot the bullseye this time.

Slug Magazine Review (November 2005)
Gravity Propulsion System = Void + Mission Of Burma + Parts & Labor GPS generate some ferocious amplified noise-punk that sounds like theyre set to go off at any moment. As aggressive as they get, they remain grounded, and at times are actually quite catchy (not bubblegum-popping-on-your-tongue catchy, but memorable at the very least). At times they sound like a static trash-compactor garbling up a Rat pedal with Steve Albini capturing it all on tape, only to sound the next moment like the Raspberries playing in an underground tunnel with a bad sound system on overdrive (and thats a good thing!). The latter half of the disc feels like a Neubauten-by-way-of Sonic Youth-joyride through sound effects and noise loops and right back to structured pile-driving. If anything, Gravity Propulsion System is not noise for noises sake, as they mostly stay within the parameters of standard fare songwriting, pegging them somewhere between the more structured AmRep bands of the past and the frenzied Load bands of today. -Jared Soper

Get Destroy review from Transform
November 21st 2005
A wonderfully tense balance between noise and melody.

Another scorcher from Ascetic (it must be something in the water). This took me a couple listens to warm up to, in that I haven’t really been into a band of this style for a while; Gravity Propulsion System indulge in the kind of audio shrapnel once purveyed by the likes of Big Black, Pussy Galore, early Sonic Youth, etc. Big shards of metallic noise over driving rhythms, alternating between atonal drones and full-on destruction: the kind of stuff I would have fallen head over heels for about 10 years ago.

But any band in the world can rehash “Bad Moon Rising,” set their guitars up against the amps while the drummer pounds away. I guess what I like about Gravity Propulsion System is that they have a strong melodic undercurrent that runs through most of the songs. Sure, they’re capable of massive sonic maelstroms, but they also have an ear for off-kilter melodies. The best songs here let those tendencies bubble to the surface, like the terrific “Sixes and Ones,” which maintains a wonderfully tense balance between the noise and the melody, never quite letting either have free reign.

Gravity Propulsion System occasionally stumble when they let their self-indulgent, “fuck everything up” MO run rampant, like on the wearying four-part closer “Time Decay,” which begins with tinny canned beats and proceeds to bludgeon you with sheets of impenetrable noise for 14 minutes, wandering aimlessly. But when the band gets focused – like the one-two punch of openers “What Can I Say” and “Mouth” – Get Destroy is an invigoratingly abrasive blast and a hell of a fun ride. It’s like 1994 all over again… or something. In a good way. Recommended, but bring ear plugs. - Lucas Salg

Get Destroy Review from Hybrid Music
Pop-punk never sounded so good. Brash and chaotic Gravity Propulsion System comes off as an elegant experiment in garage fundamentals by pushing the envelope of noise laced rock with sporadic hooks and an almost jam feel. At times this works against the band as it feels like a personal joke, and at others it pays off tenfold.

A mix somewhere between The Break-ups and The Germs, GPS aren't afraid to test the boundaries of musical standards, giving only the drums a consistency throughout the album. Songs are a mish-mash of noise, unfiltered guitar sounds and a pure driven intensity which permeates even their slower material like "Smash The Bass Player". It is this no fear attitude that grabs my attention as it is nailed succinctly in "Mouth" and "Fake Skyline" where the material is all over the place but creates a dominant aura. The later being my favorite for its laconic walking line that pays off big time in the changes, making it a must hear.

Production has to walk a fine line between a refined sound, and a low-fi garage distortion which many people could confuse for low production standards. It is with a discerning ear someone could appreciate the thought that went into making it sound dirty, yet crisp. Nothing is left half-assed as the decisions show that skillful guiding hand, especially in the last track which veers over the spectrum of sounds. Especially in the "Dimension Negative" part of the song does the impact become blatant, with the buzzing distortion of the guitars balanced by the constant bass and staccato drums.

This album isn't for everyone, but then again maybe I don't want everyone to listen to it. It is kind of like an inside club, either you get it or you don't. Most people will probably pass over this record as sheer noise, but man there is just so much more to it, and I will be content just huddle in my corner with it and savor it for myself. - bishop

Get Destroy review from Lost At Sea
Get Destroy is a bellicose tableau of war-whooping DIY that’s able to channel old school gentlefolk like Sex Pistols and The Damned while maintaining a strict-enough production ethic to keep the energy and pure hatefulness of the whole mess tentatively wrangled without neutering it – much of this has been done before but without such devoted attention to the overall sound (it wouldn’t be odd to wonder how something this potent was actually pulled off in a studio within a thousand miles of their Oklahoma confines).

Like a Fugazi zooted up with PCP, the fits and starts throughout are unpredictable, violent and strictly personal, but a white-noise quotient is omnipresent, as though each instrument were battling for its right to exist. Bryan Baxter’s Melvinsesque bass lines are right up there with Mark Owens’ twangy but systematically abused guitar and the steadfast drums of Lance Pellegrini, which set the benchmark for the slider levels – there’s only so much .

Along the way – should you choose to accept such a clamorous listening assignment – you’ll be treated to a true belle of the ball in all-ages-club stompage without any pause for balladeer hucksterism or goofball musings from the skateboard park (in fact there’s a welcome lack of the usual wanker’s-eye-view on the impossibility of girls). Owens offers up his tortured wildcat screeching with plenty of gleeful oh-yeahs from the rest of the crew, and it’s all quite the rip-roaring punk-a-thon, from the Ramones send-up "What Can I Say" to the three songs mashed into the final 13 minutes, which finally run out of diesel fuel in a no-wave feedback orgy drowning out a TV interview with a born again Christian who, of course, sounds more spaced out than an East Side Maytag box dweller.

It’s this pedestrian self-indulgence – steaming vitriol fired carelessly in all directions, often hitting unarmed civilians – that keep greatness just a hair’s breadth away, but the hooks (or what passes for them in such a caustic musical environment) hit on all marks regardless of whether or not they’re presented solely to invoke safety pins, bloody Chiclets on the floor, and the other copyrighted trappings of Jimmy Carter-era DIY. They’re serious enough to be off doing some rather heavy touring nowadays, and if all pans out for them they might make a nice counterbalance opener for something like Boris. Tough to predict what they’ll learn on the road, but when they do come back it’ll be not uninteresting to see if they’ve picked up a few independent ideas. - Eric Saeger

Get Destroy review from Neufutur
With equal parts of Misfits and A Wilhelm Screamed mixed together to make some of the smoothest (yet angular) noise pun, Gravity Propulsion use shrill guitar lines to attack their listeners. The first track on the disc What Can I Say is much in the same vein as a Locust track, but is expanded to epic proportions (breaking two minutes) before disintegrating and moving into a very Tom (Against Me!) vocalized track in Mouth. The instrumentation is really carefully crafted in much of the same way, but the subtle shift in vocal ornamentation completely recontextualizes the band. The ended instrumental parts of this track are nice, allowing individuals to fully get an appreciation to the nuanced style of the band, but Gravity Propulsion System really causes whiplash when they moved into a chant-led, almost-Ramones-sounding groove for the later part of the track. More...

Poison Rays of Sound review from Lollipop
Drilling and droning, this is the kinda thing you heard a bunch during the decade when Sonic Youth released Daydream Nation and many of our nation's college students had to turn the dial to the left to hear such things. Nowadays? Ikara Colt could gig with'm just fine, as could Poem Rocket, or some of those angular units wandering around in the yard where Kittens for Christian and The Division of Laura Lee play kickball with Trail of the Dead and Cursive. Will they have a slot on the five-disc tribute to Too Pure recs I'm gonna put out when I hit a big enough number? Hey, any band that even comes up with a title as good as "Damage Control Disguised as Progress/Sick Energy" gets in Gotta love the four videos, too. Really a great way to go about augmenting the spacier side of things. -Craig Regala

Poison Rays of Sound review from Decoy Music
When I listen to most CD's, I can usually tell by the opening minutes if I'm going to like the record or not. This was not one of them. GPS' CD began with a bunch of noise, and it being a data CD, I thought perhaps I played the data track on accident. Oh boy, was I wrong. The minute the first [real] track kicked on, it was an all out blur. More...