Under Review

Woolworm

Everything Seems Obvious (Hockey Dad Records)

by Julia Lehn


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The ‘90s grunge movement is one of the most addictive scenes to have come out of the last decades. The sweet sounds of a screeching guitar line and a drum kit being smashed to absolute shit will never fail to be a killer combination.

The resurgence of ‘90s grunge rings loud and clear throughout Woolworm’s new EP Everything Seems Obvious. The band’s sixth release is a four track seven-inch, which packs a serious punch. Each song picks up immediately where the predecessor left off, creating a high energy and high impact release, just in time for summer.

Woolworm’s first release since 2013, Everything Seems Obvious is expertly crafted to build quickly and make a statement. The opening track “Useless” combines fuzzy guitar lines and frontman Giles Roy’s washed out vocals to set the scene for ‘90s revival/indie rock. A standout track is definitely “Cassandra,” a massive not-quite punk track with an addictive hook. Roy belting “Don’t wait / Don’t wait / Don’t wait for me” over a repetitive and crunchy guitar lick creates the initial appeal. However the bones of the track are made by bass player Heather Black, creating a full bodied sound and making her the real star of this track. The final track of the EP, “I Truly Do Not Mind,” exists mostly as a callback to “Useless,” but gives the EP an overall cohesiveness.

Woolworm have been shoved to the front of Vancouver’s independent music scene for a reason — they have been champions of  the ‘90s revival/indie rock resurgence. Everything Seems Obvious makes it — should I say — pretty damn obvious that they deserve to be in that spotlight. Woolworm grasps the balance of crunchy guitars, smashing cymbals, and thundering bass making their latest release tangibly good.