Shreds Vo. 2: American Underground – Review

Shreds

Vol. 2: American Underground (Shredder)
by Joshua Brown

Before I ever listened to the CD, a special three-chord melody was plucked on my heartstrings by the Pebbles compilations alluded to in the bio for Shreds Volume 2.

The classic Nuggets collections (after which the record stores in Kenmore Square and Coolidge Corner were named) brought us tracks by ’60s greats like Thirteenth Floor Elevators and Electric Prunes, many of whom are now pretty obscure but were actually quite popular in their day. While some folks spent their hard-earned cash gathering the gold “nuggets” proudly displayed in store windows, it was the few and the proud who busied themselves gathering up the “pebbles” that were strewn about the landscape. While some of these were overlooked by the rock industry for good reason, many possessed their own special qualities which couldn’t be found in the more popular rocks. The fun was in the search.

Anyhow, the “pebbles” compilations were filled with bands your dad was into but never told you about, and may not even remember himself, and they were a lot of fun. The Shreds series endeavors to be a Pebbles for the ’90s, and so far they’ve done their mentors proud.

The tracks are all taken from 45s that have already been released. I’ll list them in reverse order of coolness, so bear with me and we’ll get to the good stuff last: Neighborhood Dilemma do depressing stuff that, I guess, is supposed to sound like the Cure, which would be all right if the guy could sing. Loose Change give us “17” (“she’s only…”), a stab at the pop punk appeal of Screeching Weasel without the wherewithal to really pull it off. Red Number Nine do the track “Indifferent,” which is how I feel about it. You already know what I’m gonna say about the band Blah. Cavity are typical Josie and the Pussycats gone bad (which is not necessarily a negative thing). Broken Toys are one of those ok bands that puts out a shitload of records, which in itself is annoying. Wooly Mammoth give us a garage version of Pegboy, which is cool, I guess. The Phuzz = the Pagans, who were great, but not quite as great when redone a decade and a half later. The Bubble Boys do a good upbeat garage rock number that flows sort of like a Green Day song. Beatnik Termites give us a sweet, nasal-retentive ditty about a schoolboy’s obsession with a girl, in the tradition of the Hard-Ons. Plow‘s “Timmy is an Arsonist” is fun nerd punk. Incredible Force of Junior is good atmospheric indie rock with poetic lyrics spoken/sung by female voices. The Fondled play sort of pissed-off melodic grrl punk worthy of The Muffs. Atomic Boy have a sound much like early Hüsker Dü, but have more traditional Ramones-y lyrics. Sluts For Hire sum it all up in the chorus, “We’re very drunk and we’re in a band.” A lot of fun. Tugboat Annie offer “Jackknife,” a solid Dino Jr.-ish number off their Superfriends CD, which was also released as a single. Coloring Book play folky rock with a soft touch like the best of Yo Lay Tengo, and “Time to Grow” is heartbreakingly beautiful in both music and lyrics. Tinsel is the most interesting of the bunch. Post-emo, creative like Jawbox, if they had better production, they could do some truly amazing things. Apparently, there’s been a surf instrumental revival in the mid-’90s, and Mark Brodie is probably the best of the new breed. I usually don’t have the patience for instrumental tracks, but this one blew me away with its transcendental-yet-very-hipness. Finally, Cub from Vancouver, BC (who no longer qualify as an “underground” band, though they did when this was made) steal the show with their sadly sweet, addictive fuzz-pop.