Under Review


Everything Seems Obvious (Hockey Dad Records)

by Julia Lehn


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.